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

Documentation date: Nov. 10, 2017
Performance date: May 15, 2017

Version documentalist

  • bourgogne (bourgogne@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

Upgrade Motivation

- The main novelty of this version is the integration of the tape in Max, whereas Max and Pro Tools were both running in the original version.

Comment

- For the first performances of this piece, the instrumentalists (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).

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 amplification
  • 4 DPA 4061 - Condenser Microphones (DPA)
    with violin clips - for real time treatments
  • 4 Amplification
    type Dayton DTA-1
  • 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 instructions' illustrations)
  • 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 CL5 - Digital Mixers (Yamaha)
  • 1 PCM92 - Reverberation (Lexicon)
    for additionnal reverb

Computer Music Equipment

  • 1 MacBook Pro - Apple Laptops (Apple)
    with Dante Virtual Soundcard
  • 1 Max/MSP - Max (Cycling74)
    for the real time treatments, tape, and broadcast

Premiere

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

Realisation

  • Charles Bascou
  • Vincent Isnard
File Author(s) Comment
[1.2 MB] Score score
[3.8 GB] Patch Quatuor-AshleyFure-ConcertCGP2017.dmg
[22.8 MB] Technical rider TechRider-Anima.pdf Jeremie Bourgogne

Instructions

Audio setup

- Patch console

input_patch

- Loudspeaker setup

loudspeaker_setup_v2

- Actuator position

instrument_actuators

Software installation

All the electronic part is managed in Max.

- Max/MSP patches

The Max patches are dedicated to manage the real time processing (feedback effects with the mobile transductors), and to broadcast the multichannel tape which is distributed to the loudspeakers, the fixed and mobile transductors, and the click track.

On the Macintosh laptop

1. copy the dmg file called _Quatuor-AshleyFure-ConcertCGP2017__.dmg_on your hard disk drive and mount the image;

2. copy the 37 files and folders on a new folder;

3. launch Max 7;

4. in the Max Options menu, click on File Preferences. Then add your folder;

5. launch the main patch called __main_Ircam_avril11alone.maxpat.

- Routing in Max/MSP

ADC:

1. V1;

2. V2;

3. VA;

4. CL.

DAC:

1. tape L;

2. tape R;

3. click track;

4. (empty);

5. feedback mobile actuator V1;

6. feedback mobile actuator V2;

7. feedback mobile actuator VA;

8. feedback mobile actuator CL;

9. tape fix actuator V1;

10. tape fix actuator V2;

11. tape fix actuator VA;

12. tape fix actuator CL;

13. tape mobile actuator V1;

14. tape mobile actuator V2;

15. tape mobile actuator VA;

16. tape mobile actuator CL.

- Sampling rate

Fs = 48000 Hz.

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

  • top: audio sub-patches with routing configuration and effects;
  • middle: main sub-patch called midi-score with the tape and the real time events + navigation in the score to launch the events;
  • bottom: signal levels of the DPA microphones (dpa), and mobile actuators (M), while the levels of the feedbacks on the right follow real time events (see sub-patch midi-score). The levels of the fixed actuators are visible in the sub-patch inside midi-score, but managed by the sound engineer in the console.

patch_max_1

- Main sub-patch: midi-score

This sub-patch is composed of

  • left: the tape and the real time events;
  • 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 inputs and outputs are working. As indicated in the main patch: high levels on the fixed actuators can be tested on bar 150, high levels on the mobile actuators can be tested on bar 400, and real time events (feedbacks) can be tested on the midi-score sub-patch, then click on the button "troisieme partie".

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

There is no specific sound level following in this piece (e.g. no need of MIDI mixer).



© 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: Nov. 10, 2017, 10:14 a.m., update date: May 3, 2018, 8:22 p.m.