The setup and the execution of the electroacoustic part of this work requires a Computer Music Designer (Max expert).
Version state: Documented
Validation date: Nov. 30, 2017
Documentation date: Jan. 12, 2018
Performance date: March 17, 2017

Version documentalist

  • blevy (blevy@ircam.fr)

Version realisation

  • Benjamin Lévy (Computer Music Designer)
  • Alain Billard (Performer)
  • Emmanuelle Corbeau (Sound engineer)
  • Nicolas Berteloot (Sound engineer)
Version length: 11 mn
Default work length: 11 mn

Upgrade Motivation

Concert of the 40th anniversary of Ensemble InterContemporain.
Convert the all-in-one folder to two Max projects (1 for Max 7 (effects), 1 for Max 6.1 (spatialization)).

Detailed staff

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

Electronic equipment list

Audio Equipment

  • 1 C414 - Condenser Microphones (AKG)
    "overhead" above the clarinet
  • 2 DPA 4021 - Condenser Microphones (DPA)
    on both sides of the instrument

Computer Music Equipment

  • 2 MacBook Pro - Apple Laptops (Apple)
    1 main, 1 spare (if main fails)
  • 1 Max 7 - Max (Cycling74)
    version 7.3.3 32bits
  • 1 Max 6 - Max (Cycling74)
    version 6.1 32bits
  • 2 Fireface 800 - Sound Board (RME)
    1 for the main computer , 1 for the spare computer
  • 1 footswitch control - MIDI Controllers (MIDI Solution)
    to convert the pedal to MIDI
  • 1 Footswitch / Sustain Pedal - Footswitch / Sustain Pedal
    for the clarinetist to trigger the cues
  • 1 MIDI booster - Booster
    to send the MIDI pedal to the back of the room (and split)

Premiere

  • Oct. 2, 2007, Paris, Ircam, Espace de projection, concert Cursus

Publisher :

  • Jobert

Realisation

  • Jean Lochard
  • Yann Robin
File Author(s) Comment
[10.3 MB] Simulation files Test files A. Billard audio files for testing
[732.9 KB] Patch Max 6 project R. Meier - B. Levy spatialization
[171.8 MB] Patch Max 7 project R. Meier - B. Levy transformations
[450.2 KB] Score Score Y. Robin Ed. Jobert
[1.2 MB] All-in-one ejies 3.2 E. Jourdan ejies 3.2 needed for Max 7 (compatible with Max 6)

Instructions

IMPORTANT INFO

This version includes the AUDIO FILES with 8 CHANNELS ONLY. The original version includes sound files with 13 channels as well. If you need those, download a previous version of the piece!

Audio setup

Each of the computers has:

  • 1 input channel: mix of the 3 microphones

  • 4 output channel: 1 = Front Left, 2 = Front Right, 3 = Back Left, 4 = Back Right

Click is not used by Alain Billard (clarinet) who knows very well the piece.

Here is diagram of the overall audio and MIDI setup:

Setup

Loudspeaker setup

For this concert, we used 4 sets of speakers placed like a square around the audience : Front Left, Front Right, Back Left, Back Right

Midi setup

The clarinetist triggers the cues of the score/patch with a foot pedal sent in MIDI to the computer. When an analog footswitch or sustain pedal is used (as it was the case in this version) it needs to be converted to MIDI with a MIDI Solutions Footswitch Controller. If the console and computers are far away from the stage, a MIDI Booster is used to reinforce the MIDI transmission. It is used to duplicate the MIDI info for main and spare computers.

Software

This version is composed of two Max Projects:

  • one running on Max 7.3 32bits (transformations). File: AoMII-Max7_proj.maxproj

  • one running on Max 6.1 32bits (spatialization). File: AoMII-Max6_proj.maxproj

8 channels are sent from Max 7 to Max 6. To do that, we use the loopback function of the RME Fireface. Below is a capture of this setup in the TotalMix software. Set unused channels of the Fireface to loopback to send thos channels from Max 7 to Max 6. You will have to adpat the routing in both Max Audio Setup to match the virtual input/output and the real input/output going to/from the console.

Loopback RME

ejies objects and functions are required for the Max 7 project. Because of java(script) they could not be integrated directly into the project. You have to install them in your packages before opening the project. We used and provide ejies 3.2 in this version. You may update the ejies to the last version provided that it works with Max 7 32bits.

Except for the routing, no special Max setup is required for this piece. We use this standard setup :

  • I/O Vector Size: 512

  • Signal Vector Size: 256

  • Sampling Rate: 48000Hz

  • Scheduler in Overdrive: yes

  • in Audio Interrupt: no

System calibration and tests

The input level of both patches (Max 7 and Max 6) should be set rather high for the effects to work properly.

Two soundfiles can be used as a simulation to quickly test the patch without the clarinetist. CLCB-sectA_05-diff.aifis a recording of the first 28 bars of the piece. CLCB-sectB-37_49-diff.aif is a recording of the bars 37 to 49.

Initialization routine

When launching the two projects, you can check for errors in the Max window.

  • In Max 7 the following error can be ignored (should appear only once):

      `newobj • reverb-OPer_init: No such object`
    
  • In Max 6 the following errors can be ignored (should appear 8 times):

      `newobj | vbap-room-OPer_init: No such object`
    
      `       | vbap: Configure loudspeakers first!`
    

Once you have loaded both Max 6 & 7 projects:

  • Check the communication between the two Max with the blue test_reso button of Max 7 patch. The blue LED Receive test_reso of the Max 6 patch should miror it.

  • Start the audio on both Max with the red LED Dac on/off. You can check that the CPU pourcentage near this LED is changing.

  • Then init-all with the button of the Max 7 patch.

  • Pass one or two cues with your right arrow key (->)

  • Then re init-all with the button of the Max 7 patch.

  • Don't forget to check the input faders of both Max patches. The Max 6 spatialization patch also need the clarinet input.

  • For the pedal of the performer to actually trigger the cues, the mode menu should be set to use instead of test

Pedal use

Patch presentation

The Max 7 (transformations) main patch interface:

Max 7 interface

The Max 6 (spatialization) main patch interface:

Max 6 interface

Performance notes

In general, Yann Robin likes when the sound coming from the computer is loud in the room! Adjust the volume consequently!

  • The first sound of the electronics, triggered at the first note of the performer should be really impressive in the room, like a scream.

  • From cue 11, the electronics is much quiter then grow again progressively. Keep this as a rather long crescendo in the electronics, don't push up the volume directly.



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


Program note

_Art of métal II_, pour clarinette contrebasse métal et dispositif électronique en temps réel s’inscrit dans le cadre d’un cycle pour cet instrument et est le résultat d’une collaboration avec Alain Billard, clarinettiste et soliste de l’Ensemble intercontemporain. La première pièce du cycle, créée le 28 janvier dernier, confronte l’instrument à un ensemble de dix-sept musiciens, celle-ci à un dispositif électronique et la dernière, Art of métal III, en tant que synthèse, ralliera l’instrument à l’ensemble et à l’électronique. Elle sera créée en 2008\. Le fil d’Ariane de ce projet, l’idée conductrice, est une approche métaphorique de ce que peut inspirer le métal, cet alliage souvent synonyme de force, puissance, solidité, énergie, brillance, éclat etc. L’instrument lui-même est métallique dans son intégralité ; un bec en métal a spécialement été fabriqué pour l’occasion par Selmer pour remplacer celui qui est habituellement en ébonite. Outre la recherche de puissantes sonorités métalliques, l’autre préoccupation principale est le son que peut produire l’émission de la voix dans la clarinette contrebasse. Ce mixage engendre des perturbations et modifie considérablement le timbre de l’instrument. La voix est utilisée chantée ou bien criée. Ces cris, émis avec des sons fendus, amplifient la distorsion et la saturation du son, les timbres semblent éclater, exploser et produisent une violente énergie. Tout cela est accru par l’électronique, qui immerge l’auditeur à l’intérieur même du son grâce à un système de spatialisation permettant de modifier virtuellement les paramètres acoustiques d’une salle et donc d’en changer psychoacoustiquement la perception. D’autres outils de traitements développés à l’Ircam, donnant la possibilité de resynthétiser le son en temps réel, d’en extraire le « bruit » ou les transitoires d’attaques, ont apporté une précieuse contribution et enrichi considérablement l’univers sonore de ce projet.

Yann Robin.

Version documentation creation date: Jan. 12, 2018, 11:38 a.m., update date: Jan. 24, 2019, 1:05 p.m.