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

Documentation date: May 3, 2017
First performance
Performance date: May 15, 2017

Version documentalist

  • lemouton (lemouton@ircam.fr)

Version realisation

  • Jérémie Bourgogne (Sound engineer)
  • Charles Bascou (Computer Music Designer)
  • Vincent Isnard (Computer Music Designer)
  • Vincent Isnard (Documentalist)
Version length: 26 mn
Default work length: 26 mn

Comment

- For the first performances of this piece, the instrumentists (quartett Diotima) prefered to play on middle-range rental instruments, for fear of damaging their own expensive instruments. Indeed, the sound signals sent in the fixed and mobile transductors generate sometimes important vibrations, but without leading to (at least) visible damages.
- If possible, create a special lighting to create an ambiance and to visually mask the loudspeakers. The audience should perceive the sound as coming from the instruments.
- During the performance, the instrumentists were aligned on a line parallel to the loudspeaker behind them (not on the usual layout of a quartett).
- This piece has been developed in Max and Pro Tools (tape). A new version has been developed to be runned only in Max.

Detailed staff

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

Electronic equipment list

Audio Equipment

  • 4 KM184 - Dynamic Microphones (Neumann)
    for additionnal reverb
  • 4 DPA 4061 - Condenser Microphones (DPA)
    with violin clips - for real time treatments
  • 4 Amplification
    type Dayton DTA-1
  • 2 e12 - Passive Monitors (d&b audiotechnik)
    on the floor in front of the musicians
  • 4 e12 - Passive Monitors (d&b audiotechnik)
    on stands behind the musicians
  • 3 TEAX19c01-8 - Transducers (Tectonic Elements)
    fixed actuators for violins and viola - fixed with Green Schertler adhesive putty behind the body of each instrument (see the attached file instrument_actuators.pdf)
  • 1 teax25c10-8 - Transducers (Tectonic Elements)
    idem for cello
  • 3 TEAX19c01-8 - Transducers (Tectonic Elements)
    mobile actuators for violins and viola
  • 1 teax25c10-8 - Transducers (Tectonic Elements)
    idem for cello
  • 4 ear-monitor - Headphones
    for click track
  • 1 DM2000 - Digital Mixers (Yamaha)
  • 2 MY16-AT - ADAT interface (Yamaha)
  • 1 PCM92 - Reverberation (Lexicon)
    for additionnal reverb

Computer Music Equipment

  • 1 MacBook Pro - Apple Laptops (Apple)
  • 1 ProTools - Music Software (Digidesign)
    for the tape
  • 1 Max/MSP - Max (Cycling74)
    for the real time treatments and broadcast
  • 1 Fireface 800 - Sound Board (RME)

Premiere

  • May 15, 2017, Marseille, la Friche Belle de Mai, Festival Les Musiques

Realisation

  • Charles Bascou
  • Vincent Isnard
File Author(s) Comment
[2.0 GB] Patch Anima_Concert-patch.dmg
[4.1 GB] Performance Pro Tools session Anima_Concert_for_GMEM_Transfer.dmg
[101.3 KB] Document instrument_actuators

Instructions

Audio setup

- Patch console

input_patchoutput_patch

- Loudspeaker setup

loudspeaker_setup_v2

Software installation

A Pro Tools session and Max patches are used simultaneously during the performance.

- Pro Tools session

The Pro Tools session contains the multichannel tape which is distributed to the loudspeakers, the fixed and mobile transductors, the click track, and the MIDI track used for the synchronization of the events in Max.

On the Macintosh laptop

  1. copy the zip file called Anima-work.zip on your hard disk drive and unzip it;

  2. launch Pro Tools 10;

  3. launch the last version of the session called Anima-session-18_IRCAM_avril.ptx.

- Max/MSP patches

The Max patches are dedicated to manage the real time processing (feedback effects with the mobile transductors) and to broadcast all the sound signals from both the Pro Tools session and the real time processing.

On the Macintosh laptop

  1. copy the zip files called _Quatuor-Ashley-patch.zip_on your hard disk drive and unzip it;

  2. launch Max 7;

  3. in the Max Options menu, click on File Preferences. Then add the folder Quatuor-Ashley-patch;

  4. launch the main patch called __main_Ircam_avril3.maxpat_.

Patch presentation

- Notations

  • v1, v2, va, cl = violin 1, violin 2, viola, cello;

  • dpa = signal from the DPA microphones;

  • feedb = feedback signal, which is the main real time treatment played with the mobile actuators;

  • tdcF, tdcM = transducteur fixe, transducteur mobile = fixed actuator, mobile actuator

- Main patch

The concert patch is composed of

  • left-top: main audio sub-patch with routing configuration;

  • right-top: different sub-patches which are not all useful (e.g. record-events was used only to create new sounds for the tape, lemur was dedicated to control the levels with a Lemur interface but was not used for the concert), the main one (midi-score) is described below;

  • bottom: signal levels of the fixed actuators (F), the DPA microphones (dpa), and mobile actuators (M), while the levels of the feedbacks on the right follow MIDI events (see sub-patch midi-score).

patch_max_1

- Main sub-patch: midi-score

This sub-patch is composed of

  • left: the MIDI events which correspond to the Pro Tools session;

  • right: buttons to manually trigger the real time treatment (feedback) events, e.g. for rehearsals, with a schematic visualization of the duration of the events for each instrument.

patch_max_2

Initialization routine

To initialize the patch

  1. turn audio ON;

  2. click on the INIT button;

  3. test that audio and MIDI inputs are working.

Shortcuts: return key stops the feedbacks, escape key stops all the sounds.



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


Program note

Le quatuor à cordes d’Anima est augmenté au moyen d’un ensemble de transducteurs1 mobiles qui transforment les instruments en agents actifs de projection acoustique. À la manière de stéthoscopes à l’écoute des secrets du corps, les interprètes déplacent ces transducteurs d’un endroit à l’autre de la surface de leur instrument, des ouïes à la touche, du dos au chevalet, insufflant des sons animés au coeur de ces objets inanimés. À mesure que l’oeuvre se développe, ces stéthoscopes sonores migratoires se mêlent à un enchaînement volatile de feedback sonore2, menaçant de prendre le dessus sur les virtuoses qui les manipulent. De telles stratégies soulèvent des questions troublantes concernant les instruments. Sont-ils des golems : de simples monceaux d’argile qu’une incantation éveille à la vie ? Ou des monstres de Frankenstein : destinés à prendre le pouvoir sur ceux qui les ont fabriqués? Anima représente la quête d’un sang de l’électrique, d’une respiration du numérique, d’un devenir monstrueux au coeur même de la tradition originelle du quatuor à cordes.

Ashley Fure.
Note de programme du concert du 7 juin 2017 au Centre Pompidou dans le cadre du festival ManiFeste.


  1. Petits haut-parleurs qui transmettent la vibration de leur membrane à la surface sur laquelle on les place. (Note du traducteur).
  2. Le feedback ou effet Larsen est un phénomène physique de rétroaction acoustique observé dès les débuts de la téléphonie et décrit par le physicien danois Søren Absalon Larsen. (Note du traducteur).

Version documentation creation date: May 3, 2017, 7:34 a.m., update date: May 4, 2018, 4:54 p.m.