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

Version Information

Performance date
2 mai 2002
Documentation date
15 décembre 2020
Version
Mixtion - version 2020
Status
valid
Validation date
29 juin 2022
Documentalist
Dionysios Papanikolaou (Dionysios.Papanikolaou@ircam.fr)
Length
15 min
Upgrade motivation
port to Max 8.2
Comment
Upgrade of UI
Replaced fiddle~ with fzero~
Replaced cycle~ with ioscbank~
Fixed phasor~ DC offset
Added post-production elements (filter, reverb, saturation)
Added modulation to the filter's center frequency

Other Versions

version cnsmdp16 décembre 2021

Premiere14 avril 2010

Detailed Staff

tenor saxophone

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

Channel Details

Number of input channels
1
Number of output channels
4

Downloads

JODLOWSKI_Mixtion_2020

Dionysios Papanikolaou

218.67 Mo


Instructions

Patch Max/Msp
  • Open Jodlowski_Mixtion_vers-2020.maxpat
AUDIO STATUS
  • Check Audio Status for signal mapping. 1 Input on ch 1, 4 outputs on ch 1-4.
  • Fix Sampling Rate to 48KHz.
  • I/O Vector Size : 256 Samples.
  • Signal Vector Size : 64 Samples.
  • Scheduler in Overdrive : 1.
  • Audio interrupt : 0.
INITIALISATION CHECKLIST
  • click on init button (on the patch, bottom right)
  • turn on DSP
  • You’re ready to perform !
INPUT
  • The input is used only for pitch and amplitude tracking using fzero~.
  • All kind of processing (filtering, reverb, etc) should be operated on the final mixer.
  • The input of the patch must not have any kind of processing.
REAL TIME SYNTH
  • The real time synth comes from the 2009, cnsmp workshop version of the composer. It is not a scored element of the piece and it is there exclusively for improvising purposes.
  • The real time synth resynthesizes the data after the pitch and track analysis using a phasor~ and 8 iosbank~ oscillators.
  • Phasor : There is one filter, with two possible filter types, lopass and hipass. The filter’s center frequency is modulated by tracking data. In this version you can transpose the offset frequency (in octaves).
  • Sin : when “follow amp” is on (default) the synth follows the analysis data. When off the volume stays stable independently tracking.  
  • The reverb applies only on the real time synth. Adjust the dry/wet knob for a better mixing. Avoid to change the reverb parameters, unless necessairy. You can store these changes in a new preset p DSP+RVB/p REVERB. In case you create a new preset you have to import the .json file manually. Do not write over the original .json file.
MIDI
  • Turn on MIDI & Keys for activating the MIDI pedal and the shortcuts. Once your MIDI & Keys is on your keybord becomes a triggering interface. Don’t use it unless necessairy ! be very vigilent !!
  • Check the polarity of your MIDI pedal. (Some pedals have inversed polarity.)
  • You can always re-trigger any event by your computer using arrows and spacebar, or by mousing.
  • If you need to use a MIDI controler click on Assign MIDI Map (down center-right of the main patcher window) in order to map any controller directly.
SHORTCUTS
  • infos => Shift + “i”
  • Stop => “s”
  • Trigger event => “spacebar”
  • Next Event => Right Arrow
  • Previous Event => Left Arrow

Program Notes

La Mixtion est un terme ancien, synonyme de mixture. « Des éléments hétéroclites sont mélangés et donnent naissance à une substance nouvelle. »

Conçue comme un dialogue entre l’instrument et les sons qui l’entoure cette pièce explore tour à tour une écriture figée dans le temps des sons fixés et des passages plus libres fonctionnant sur le mode du temps-réel.

Le saxophone se dévoile ici sous de multiples angles : parfois solitaire et expressif, ailleurs, partie d’une polyphonie aux accents jazz, sonorités transformées et éclatées dans un espace quadriphonique...

Le temps de l’œuvre se déroule comme la découverte d’une ville dont la richesse proviendrait de ses multiples facettes. C’est là qu’est l’alchimie (comme un éloge de la différence possible) : des éléments disparates que des touches de couleurs, souvent répétées, vont tenter d’unir.


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