The setup and the execution of the electroacoustic part of this work requires a Computer Music Designer (Max expert).
Version state: Documented

Documentation date: June 17, 2016
First performance
Performance date: June 14, 2016

Version documentalist

  • laurenzi (laurenzi@ircam.fr)

Version realisation

  • Carlo Laurenzi (Computer Music Designer)
  • David Poissonnier (Sound engineer)
  • Marta Gentilucci (Composer)
Version length: 21 mn 36 s
Default work length: 21 mn 36 s

Comment

Compatible with MAX 8 and MAX 7 (32 and 64 bits).
This patch is very heavy, so MAX8 64 bits may be better advised. But if several CPU peaks are observed, the option of stripping away some realtime treatments should be considered, like for exemple, the SPAT PULSE, or the resonators~ (which are very heavy in CPU).

No other version available

(Detailed staff comes from Brahms, send mail to brahms-contenu@ircam.fr for correction.)

Channel details

  • Number of input channel : 16
  • Number of output channel : 15

Electronic equipment list

Computer Music Equipment

  • 2 MacBook Pro - Apple Laptops (Apple)
    main + spare
  • 2 iPad - Tablets (Apple)
    main + spare
  • 2 Max 8 - Max (Cycling74)
    MAX 8.1.8
  • 2 Ircam Spat - Library (Ircam)
    SPAT 4.9.3
  • 1 MIDI Keyboard - MIDI Keyboard
  • 2 BCF 2000 - MIDI Mixer (Behringer)
  • 1 MIDI booster - Booster

Premiere

  • June 14, 2016, Suisse, Genève, Alhambra

Realisation

  • Carlo Laurenzi
File Author(s) Comment
[269.6 KB] Other CL5_Config-File
[724.5 KB] Other ELECTRONIC_EVENTS Carlo Laurenzi
[350.5 MB] Recording(s) ESPACE_GLISSANTS_PREMIERE
[3.6 GB] Patch Patch
[76.0 KB] Other PlanTRAVAIL_PREMIERE
[55.4 KB] Other REPETITIONS_SOLI
[46.3 MB] Score SCORE Marta Gentilucci
[1.2 GB] Other SPAT4 SPAT 4.9.3
[16.6 MB] Other SUPERVP_Package SuperVPMaxMSP-v2.18.3-2017-11-OSX
[241.3 KB] Technical rider TECHNICAL_RIDER David Poissonier

Instructions

The electronics for this piece is made up of quite a lot of real-time live effects, plus some audio files. The cues of the electronic score is triggered by a keyboard player, which is part of the ensemble, under the direction of the conductor. A very important session of solo tests, before the starting of the rehearsals, is mandatory (see picture about that), in order to calibrate the parameters of the effects.

Audio and Loudspeakers Setup

The loudspeakers setup for Espace Glissants is made up of two sets : a set of 7 loudspeakers, to be placed onstage, besides every instrument player, with the aim to glue more the live treatments on the instruments direct sound, to be also amplified throught those same speakers; another set of 8 speakers placed in a circle all around the audience. The loudspeakers setup is therefore composed of 15 (= 7+8) channels. The electronic sounds are then sometimes diffused on the whole setup, which acts as a whole, in order to go beyond the barrier between the acoustic (and electroacoustic) dimension of the stage and the hall. The audio connections are made via a DANTE network.

Patch inputs : 16 channels

  • Flute

  • Oboe

  • Clarinet

  • Saxophone

  • Trumpet

  • Trombone

  • Percussions 1L

  • Percussions 1R

  • Percussions 2L

  • Percussions 2R

  • Piano

  • Violon 1

  • Violon 2

  • Alto 1

  • Alto 2

  • Cello

Patch Outputs : 15 channels

Global Sample Rate : 48 Khz.

Stage Setup

Patch Presentation

Midi Setup

Two BCF2000 midi mixer are needed to control the piece, or an iPad running Cycling74's MIRA app. A "Copperlan" software midi merger/splitter was used to handle the midi keyboard onstage, used to trigger the cues of the electronic score, in combination with an “Alyseum Al22- C" midi router device, and 2 midi boosters "MIDI SOLUTIONS".

Software Installation

  • Download and install Max 8.1.8 (but it's also compatible with MAX 7 32 or 64 bits!)

  • Download and install DANTE VIRTUAL SOUNDCARD, latest version.

  • "MaxSoundBox-2014-11-Max-6-7" package and "SuperVPMaxMSP-2014-11-OSX-Max-6-7" are already in the Concert patch folder.

  • Open the Audio Status panel, set the audio input and output driver to "DANTE VIRTUAL SOUNDCARD“. Check « overdrive » on. Set « I/O vector size » and « Signal Vector Size » to 512 samples. Set sampling rate to 48Khz.

  • Click on "open I/O mappings" and set the correct inputs and outputs for the DANTE network.

  • Quit and relaunch Max

Initialization Routine

  • Launch "0-DSP_EspGliss_03.maxpat", wait for the complete loading of the patch, then launch "2-EVENT_EspGliss_03.maxpat".

  • Create a dedicated network on the Main computer, and connect the iPad to the computer, through the dedicated network. (Do the same for the spare iPad on the Spare computer).

  • Launch "MIRA_Espace_07UltraLite.maxpat" (if Mira doesn't connect well to the maxpatch, quit and relaunch the app many times, until it's working)

  • On the left upper side of the patch, click the "ALL.INIT bang" button.

  • "fiddle~: unable to load object bundle executable" warning message is unharmful.

  • "pattrstorage: could not change object name" warning messages are unharmful.

  • Click on RESET.

  • Turn the DAC ON and click RESET again.

  • Since this patch is VERY HEAVY, always keep an eye on the CPU consumption, using the "Activity Monitor" software, during rehearsals and performance. Mira UltraLight patch should be preferred to the Mira Light one (which contains also some audio meter~ objects).

  • On the EVENTS patch, where it says "MIDI KEYBOARD", click on the "port" menu, and select the appropriate "CopperLAN" virtual midi configuration you created for the piece. Test the pedal to see if it's working properly. Select "TRIG" triggering method from the menu on top.

  • Check the "enable-contact" toggle ON.

  • On the EVENTS patch, click on the toggle "FOLLOW", in order to enable cues triggering.

  • Click on "-1" button, then from the EVENTS menu, select “event 0", to init cues.

  • If you need to rehearse, always click on RESET, then select from the EVENTS menu, the next cue you need to locate at. N.B. : resetting doesn't make the counter go to “event 0", but it sets itself on the last chosen cue.

  • You're ready to GO!

Performance Guidelines

This piece needs a very delicate balance between the electronics and the instruments of the ensemble. An optimal fusion of acoustic and electronic sound is to be achieved, but the acoustic instruments should stand out more at every moment. Before rehearsals, as said before, a special session is mandatory to calibrate well the parameters of the live effects on the instruments. Here an exemple of pre-rehearsals with all the family of instruments, to be called one by one. An appropriate placement of the proximity microphones and an appropriate input gain and equalization configuration of the signals of the instruments must be done in the mixing console, in order to obtain enough level for the live treatments to be well present in the mix of the electronics. A very special care must be taken to test the distortion cues on the stringed instruments, according to the electronic events from E-50 —> E-67. For the percussions, it's very important to test the part during which they are are treated live with the SPAT-Pulse device, according to the events in the electronic score : C-22 —> C-67/2.



© IRCAM Creative Commons License
This documentation is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.


Program note

L'image sonore d'espaces multiples résonnants de façon hétérogène était le point de départ pour la composition d'espaces glissants. Le mot « espace » évoque une zone délimitée dans laquelle on peut entrer ou de laquelle on peut sortir et, en même temps, évoque une large surface presque illimitée. Si nous passons du territoire géométrique à celui, plus fluide, du son, les frontières et les oppositions deviennent immédiate ment plus lisses : ici, c'est le lieu où le son acoustique de l'ensemble et les projections de l'électronique convergent. Les deux entités accumulent l'énergie et la dévient dans un autre espace, puis ensuite dans un autre et ainsi de suite. L'ensemble et l'électronique construisent lentement ces espaces, ils sont immergés en eux : mais en sont-ils adjacents ? continus ? supersposés ? incohérents ? En jouant avec la continuité de la macro-forme et la discontinuité des éléments musicaux individuels, la trajectoire de la pièce avance sans revenir au point initial.

Le dispositif électronique sur scène et dans la salle de concert a été essentiel pour la réalisation de la pièce. Les haut-parleurs situés sur la scène, disposés très près des instrumentistes, suggèrent la possibilité de fusionner le son acoustique des instruments avec leurs extensions à travers l'électronique live. Les haut-parleurs situés dans la salle contribuent à souligner la physicalité du son dans l'espace, c'est-à-dire l'espace de l'auditeur qui y est immergé.

La pièce a été réalisée dans une assez longue période de temps. Le temps de la composition sur le papier et le temps de travail en studio à l'Ircam ont été complètement entremêlés ; l'alternance de ces deux dimensions du travail de composition ont renforcé la fusion entre la partie instrumentale, le son électronique et le glissement imperceptible d'un espace vers l'autre.

Marta Gentilucci. Traduction : Brice Pauset.
Avec l'aimable autorisation de l'Ensemble Contrechamps.

Version documentation creation date: June 17, 2016, 3:18 p.m., update date: Nov. 22, 2020, 2:49 a.m.