Première-2020 The Moth Fernando Manassero

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

Table of contents

Version state: In progress, update: Oct. 2, 2020
First performance
Performance date: June 30, 2020

Version documentalist

  • naves (naves@ircam.fr)

Version realisation

Version length: 10 h 44 mn 56 s
Default work length: 07 mn 40 s

Comment

2 x Ableton live sessions : performer + spatializarion (at FOH location).
performer's computer : 3 inputs inputs and 6 outputs that feed spatialization computer.
spatialization computer : 6 inputs and 8 outputs.
The piece can be played without a spatialization computer using directly the 6 outputs of the performer's computer.

No other version available

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

Channel details

  • Number of input channel : 3
  • Number of output channel : 8

Performance details

  • Sept. 8, 2020, France, Paris, Centre Pompidou, ManiFeste

Realisation

  • Jean Lochard
File Author(s) Comment
[96.7 KB] Performance documentation Manual Sébastien Naves
[2.2 MB] Technical rider Tech_rider Sébastien Naves
[445.7 MB] Video Video Sébastien Naves Video of the premiere
[134.2 MB] Recording(s) Performance_mix Sébastien Naves Mix of the premiere
[95.6 MB] Ableton session Ableton_Live_sessions_packs Sébastien Naves the plugins argotlunar.vst (included) must be installed
[703.6 KB] Score Score Sébastien Naves
[18.7 KB] Document Program_notes Sébastien Naves

Instructions

THE MOTH

for turntable and electronics

1. Audio setup

- PA 6.1 or 2.1 depending on the venue characteristics without spatialization computer or PA 8.1.

- Mixing desk 24 channels.

Performer :

  • Turntable technics SL-1200 (or similar model) : audio outputs are not used.

  • 3 contact mics - AKG 411 suggested. For Multi-plectrum please contact the composer for instructions (fermanassero@gmail.com).

  • 1 Table: standard 1x2 m. DJ table.

  • 1 small table to place the sound card and other elements (not to be seen).

  • 1 music stand (only the top, no stand).

  • 1 laptop apple (macOS 10.14.6).

  • 1 sound card with midi I/O : 3 mics inputs with 48v phatom power and 9 ouputs (3 mics out + 6 channel of electronics).

Spatialization :

  • 1 laptop apple (macOS 10.14.6).

  • 1 sound card : 6 inputs (6 channels of electronic from the performer) and 8 outputs.

2. Loudspeaker setup

8 loudspeakers arround the audience.

2 wedge monitors with the performer.

3. Midi setup

Performer :

  • MIDI keyboard of 25 keys, 8 knobs/faders, 8 pads, joystick (Akai MPK Mini MKII suggested).

  • Pedal board capable of sending MIDI note messages from its pedals (Roland FC-200 suggested).

Spatialization :

  • multi controller mixer similar to BCF2000 Behringer.

4. Software installation

Copy the content of "THE_MOTH_Live_sessions.dmg" in your hard drives (for the performer and for the spatialization).

The free plugin argotlunar "argotlunar-2.06-osx_10.8-vst.zip"_ (https://mourednik.github.io/argotlunar/) must be installed first (performer only) : unzip and copy the content in /library/Audio/Plug-Ins/vst.

The session pack "THE_MOTH_CONCERT_TURNTABLE_FM2020.alp" is for the performer._

The session pack "THE_MOTH_SPAT_CONCERT_FM2020.alp" is for the spatialization at FOH location._

The XXX.alp are session packs. Open them with "Live 10 suite" to create the sessions on your hard drives.

a) Ableton Live sessions (Live 10 suite).

In the preferences/plugins of Live active the vst2.

Performer :

1 - Open Live session: “THE MOTH_CONCERT_TURNTABLE”

2 - Configure the pedal board and keyboard the Mapping list

A - Keyboard - Fxs, metal sounds and manual volume control and pitch shifting.

CH: SAMPLER 1


→ DEVICE “SVPitch Shifter 1” map to Pitch bend Joystick



CH: SAMPLER 2


→ DEVICE: “SVPitch Shifter” map to knob x

Group Channel : “Multiple Stick/AKG1”
 → “(CH) LIVE”

→ DEVICE: DO_Chromax map to C4
→ DEVICES: RE_Argotlunar & Bit Crusher-1 map to D4
→ DEVICE: MI_Ring Modulator map to E4
→ DEVICE: FA_Pitch shifter (1) map to F4
→ DEVICE: SOL_Pitch shifter (2) map to G4
→ DEVICE: LA_Pitch shifter (3) map to A4

CH : “LIVE”

→ Track Volume map to knob or fader 1

CH : “LOOP”

→ Track Volume map to knob or fader 2

CH : SAMPLER keyboard

→ DEVICE “WTMetal_Random_Echo” map to B5 and C6

B - Pedal board

CH : “SAMPLER”


→ SCENE LAUNCH map to pedal 1 (this pedal triggers the list of samples notated in the score)

CH : “LOOP”


→ REC - LAUNCH (loop 1 clip) map to pedal 2`
→ Clip Stop button (for the channel) map to pedal 3
→ REC - LAUNCH (loop 2 clip) map to pedal 4

CH : “Needle/AKG2”


→ Track Volume map to knob/fader 3`

CH : “Whisk/AKG3”

→ Track Volume map to knob/fader 4`

RETURN CH : “Freezer”

→ DEVICE:“M4L-Freezer” freeze button map to pedal 5
→ Track Volume to knob/fader 5 (used only to balance the sound) **MASTER CH**: -> DEVICE “Dj Dropdown”
→ Buffer Button rec on off (yellow/grey) map to pad 1

→ Speed knob map to knob 5 (it must be a knob)`

Spatialization :

1 - Open Live session: “THE_MOTH_SPAT_CONCERT_FM2020.als”

2 - Configure Midi Mixer (BCF) following the mapping list

- Midi Mixer

CH#1 ADC34 Multiplectrum

→ Track Volume map to Fader 1
→ EVICE: M4L-StereoSpreader
→ device ON map to button 1
→ SinusFrequency map to knob 1

CH#2: ADC Sample2

→ Track Volume map to Fader 2

CH#3: ADC Samples Extra

→ Track Volume map to Fader 3
→ SAMPLE: “Noise high_launch” map to button 2
→ SAMPLE: “Drone_low_Last” map to button 3

CH#6: FrontRear12

→ DEVICE: “M4L-FrontRearPan” -> map to Fader 4


CH #11: SurrondPan

→ DEVICE: “Surround Panner”, map Y-Axis to Fader 5



CH#12: SurrondPan34

CH#13: SurrondPan56

CH#14: SurrondPan78

→ DEVICE: “Delay” -> map delay time L- R to knob 8 (all channels to same knob)

b) Routing in Live :



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Program note

Les papillons de nuit (« moths ») volent la nuit avec leurs merveilleuses ailes sombres à la poursuite de la lueur de la lune. Intoxiqués par la puissance de la lumière artificielle, ils sont désorientés et se retrouvent piégés ; on les voit bien souvent voler irrémédiablement vers une lampe, et s’écraser dessus.

Dans cette pièce, l’aiguille customisée que le performer utilise ressemble à un insecte qui recherche le son. En s’écrasant et en frottant sur le platine en train de tourner, il cherche à faire émerger le son de la friction.

Développer un instrument de musique et un système de notation qui traitent à la fois les actions du musicien et l’électronique a été au cœur de la collaboration entre interprète et compositeur. La platine vinyle utilisée dans la pièce a été repensée en tenant compte de ses deux composants : le plateau tournant et le bras de lecture. La surface métallique du plateau ainsi qu’un disque vinyle customisé forment une surface divisée en plusieurs zones, chacune d’entre elle ayant un timbre spécifique. Le bras de lecture a été redimensionné pour amplifier les frottements microscopiques de l’aiguille contre le disque vinyle. Il se prolonge par le bras du performer qui frotte sur la platine plusieurs objets, aiguilles, équipés de micros contact. Les accidents produits sur la surface de ces objets constituent des éléments rythmiques à différentes échelles ; parfois au niveau de la texture, et d’autres fois ils émergent à la surface. À ce dispositif s’ajoutent des traitements électroniques appliqués aux sons manipulés par le performer en temps réel, et une spatialisation du son réalisée en direct par le compositeur.

 

Fernando Manassero, note de programme du concert du 8 septembre 2020 au Centre Georges Pompidou

Version documentation creation date: Oct. 2, 2020, 11:20 a.m., update date: Oct. 8, 2020, 4:22 p.m.