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

Version Information

Documentation date
December 1, 2013
Version
AnimusIImax6
Status
valid
Validation date
May 3, 2018
Documentalist
Benoit Meudic (Benoit.Meudic@ircam.fr)
Realisation
Benoit Meudic (Computer Music Designer)
Length
15 min
Upgrade motivation
Max6 (ftm is still used)

Other Versions

ANIMUS_II_Max8_48kHzMarch 24, 2020

ANIMUS_II_VCL-Musica-2018November 19, 2018

AnimusIImax6-2015September 30, 2015

transfert_mustica_ftpApril 14, 2010

Animus IIJune 1, 2007

Detailed Staff

viola

Detailed staff comes from Brahms, send mail to ressources-contenus@ircam.fr for correction.

Electronic Equipment List

Computer Music Equipment

1 RJ 45 Cable
Cable (generic) - for laptops ethernet connexion
1 Fireface 800
Sound Board (RME)
1 BCF 2000
MIDI Mixer (Behringer)
1 Cable
Cable (generic) - vga for screen
1 MacBook Pro
Apple Laptops (Apple) - main computer
2 Max 6
Max (Cycling74)

Audio Equipment

1 DPA 4021
Condenser Microphones (DPA) - for viola
1 Lexicon 300
Effects Processor (Lexicon) - for amplification
1 DM1000
Digital Mixers (Yamaha)
6 Loudspeaker
Loudspeakers (generic)

Video

1 Screen
Screen (generic) - for instrumentist

Downloads

animusII.dmg

Benoit Meudic

605.24 Mo

ANIMUS2 DEF.pdf

Luca Francesconi

comment

manuscript

3.64 Mo

rec-munich-alto.aif.zip

comment

recording of the Munich concert

42.3 Mo


Instructions

Audio setup

Software presentation

The instrumentist follows a visual click-track in order to synchronise with the electronic part. The score is displayed with the click-track on a screen. The pages of the score are automatically changed by the click-track. The display is done by a slave computer which is linked to the main computer by an ethernet connection.

A control surface should be used in order to mix the electronic treatments and the soundfiles.

SCORE/CLICK-TRACK DISPLAY:

installation:

Warning: the fullpath of the folder 'animusII-laptop' should not have any spaces, otherwise the shell scripts for score display will not run.

Copy the folder 'animusII-laptop' on the hard disk of the computer that displays the score and the click-track.

Launch max/msp and open the file 'animusII-laptop'.

Initialisation of the laptop display:

Instal "Adobe Reader 8 Installer" (the installer is in the folder "animusII/animusII-laptop/").

Open the score 'ANIMUS2 DEF.pdf'

Open the patch animusII-laptop-800*600 in max. 

Adapt the pdf size and the max patches to fit the entire screen.

Choose a manual ip adress for the computer and connect it to the main computer with an ethernet cable.

MAIN COMPUTER:

installation:

Copy the folder 'animusII-max' on the hard disk of the main computer.

Launch max/msp, and select this folder (and only this one) in the 'file preferences' menu of max/msp.

You need to use ftm 'FTM.2.5.0.BETA.20-Max5' to play the click-track. This library is provided in the folder 'animusII/animusII-max/externals.

Check that ftm is correctly installed.

Open the file 'animusII' in max-msp.

Patch presentation:

The concert patch is composed of:

- Top right: interface for events triggering and click-track playing. Events are represented by a number corresponding to the bar number reported in the instrumental score. The highlighted number corresponds to the next event that will be triggered. During rehearsal, you can play click-trak from anywhere: select the bar/beat in the click-track panel, then start click-track).

- Top middle: main sub-patchers (audio, midi, libraries, events counter, reset, matrix connections).                      

- Bottom: live mixing faders.

Inputs/Outputs:

There is 1 input for the alto.

There are 6 outputs for live electronics and soundfiles (dac 1..6 resp. on loudspeakers 1, 2, 3, 4, 5 and 6).

Initialisation in max/msp:

To initialize the patch:

1. Click on '1-load files'

2. Click on '2-config' (figure 'midi-config') and select yhte midi input/output of 'mixette' in order to config your MIDI setup for the control surface (for mixing of adc, sfiles, samplor, harm and gran). You can access to the routing of midi channels by clicking on 'mixette' (picture 'midi-mixing-control').

Choose a manual ip adress for the computer and provide the ip adress of the laptop displaying the score and the click-track.

Save the main patch.

The configurations will be saved even if you quit max.

3. click on '3-init' and wait for the message 'ok bang' in the max message window.                        

The bar/beat position on the displaying computer should automatically be set to '-2 1'. If not, check the udp connection between the two computers.

4. turn the DSP on                        

Performance instructions

Initialise the max/msp patch, turn the dac on.

Start the click-track in max. The click-track starts 2 bars before bar 1.

On bar 1 beat 1, you have to manually trigger a soundfile (there is a bang button in the main patch for that). The important thing is to be synchronous with the instrumentist, not with the click-track.

Then, follow the soundfiles and the electronic treatments (harmonizer, samplor, granulator). The electronic should be at least as loud as the instrumentist.

Program Notes

Animus II est les deuxième chapitre d'une série d'explorations sonores par des techniques digitales. Dans chaque pièce, un soliste se confronte à l'ordinateur : dans Animus I, c'était le trombone et ici l'alto – Animus I paraîtra sur un CD monographique de Luca Francesconi dans la collection « Sirène » de l'Ircam et de l'Ensemble intercontemporain édité chez Kairos (sortie prévue en novembre 2007). Ces deux pièces sont des commandes de l'Ircam.

C'est une nouvelle recherche de particules de lumière dans une matière usée, saturée, post-digitale.

Avec l'ordinateur, on explore d'abord ces lueurs puis les connexions musicales et vitales entre rythmes et couleurs. Mais cette tekmè n'est peut-être plus une alliée et démolit les limites de notre intimité, nous envahissant.

La pièce est née d'un projet avec Garth Knox il y a quinze ans : alors que nous écoutions le solo d'alto du Quatuor n° 3 que nous étions en train d'enregistrer à la Radio de Cologne, nous avons pensé qu'il serait intéressant de développer ce fragment en œuvre à part entière, presqu'un « concerto » pour alto et électronique. Le rôle de cet élément sert de moteur générateur de fonctions compositionnelles et articulatrices mais aussi de fonctions expressives, et investit toute la pièce d'une dimension rituelle, d'une « tension sémantique ». 


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