Audio and loudspeaker setup

This patch runs under Max 8.1 (OS X High Sierra or above).

Synful Orchestra plugin VST have to be installed ; a licence is required ( version 2.6.4 )

Software installation

Install MAX and Synful Orchestra

• Copy the files in your computer.
• Open Partita1-2020.maxproj with Max 8.
• Open Partita1-2020-v7.maxpat.
• Set the Audio Configuration:
  • SR = 44100 Hz;
  • IO Vector Size = 64;
  • Signal Vector Size = 256;
  • Scheduler in Overdrive = ON;
  • Scheduler in Audio Interrupt = OFF

Audio Routing

• ADC:
• Viola input.
• DAC:
• 1 to 6 : Loudspeakers.

Patch presentation

Main patch

Keyboard Shortcuts

• B = Antescofo follower ON;
• N = Antescofo follower OFF;
• Spacebar = next event;
• Left arrow = section 4 alternances accords;
• Right arrow = toupie in section 7 (open form).

Control Faders / Midi controls

Some levels can be controlled during the performance using 8 midifaders.
The 4 first faders are only used for the long convolution reverb used in section 9.
The midi controller numbers and channels can be set in the MidiControl patcher

1. Viola to Rev : viola send level to the convolution reverb
2. V+P rev 8s : viola and “ecrase” sound file sent to the long reverb (IX.6)
3. V+P rev 50s : viola and “ecrase” sound file sent to the surround very long reverb
4. RevF : reverberation master level for the last section (section IX)
5. Viola to Matrix : control the alto level to the sound transformation modules :

• reverb II.5/8
• harmonizer section3

1. Play~ direct (to HP 1/2)
2. viola Direct (to HP 1/2)
3. Master

Messages syntax

All the electronic score is written in 9 qlists, one for each section.

• alt = alto (viola);
• paf = phase-aligned formant (synthesis);
• smp = sampler (synthesis);
• syn = synful orchestra plugin (synthesis);
• sp = spat (transformation);
• h = harm (transformation);
• f = frequency shifting (transformation);
• hp = outputs.

Simulation

You can rehearse the piece by using the Partita1-Contact-rec-Concert.aif. It is a recording of the solo viola part. Four other different recordings can be used : Partita1-Contact-rec[1-4].aif

Score Following

Score following is optional. Partita 1 can be played without the score following. By default, the main patch is on “FULL MANUEL” mode. Each cue should be triggered precisely by the computer music designer.

To use the score follower, change the mode to “AVEC SUIVI” on the main patch and open the Antescofo~_Partita_2019_max8.maxpat patch.

Some events are triggered automatically (see printed score)

Simulation with Score Follower

You can test the patch and the score following system with the simulation

1. put the main patch in “AVEC SUIVI” mode
2. init section1
3. start DSP
4. open Antescofo~_Partita_2019_max8.maxpat
5. choose Partitia1.asco.txt antescofo score
6. start the follower
7. choose the Partita1-Contact-rec-Concert.aif soundfile
8. play the soundfile

Initialization routine

1. Turn audio ON
2. Start to play by clicking on the “Section 1” button… ( wait always the init will be done… )… it’s also a way to stop a process and ready to start.
3. turn on the main volume (the master level fader slider is turned down by default, usual value is 95)

More details on the piece

Sound synthesis

• 2 samplers
• Synful
• Paf + Noise

Live effects

• Harmonizers
• Fshift

Spatialization / reverb:

• 2 spat -> 6HP
• 2 Concolution reverbs : “Reverb Fin”

Form

Partita 1 is in 9 sections, each centered around a particular musical gesture.

• I “note repetées”
• II
• III
• IV “trilles”
• V “ricochets”
• VI “tremolo”
• VII “toupies”
• VIII cadenza viola solo
• IX conclusion

Gesture analysis and audio descriptors

The original version of Partita 1 premiered and developed in Grame-Lyon in 2007 was using a special motion capture device, a small device, fixed to the finger of the soloist, providing real-time analysis of the acceleration and pressure of the bow on the strings of the instrument. Since 2011, this device has been replaced by real time audio analysis of the viola sound.
The following real time audiodescriptors are used :

• enveloppe/attack detection (for instance in II.3)
• amplitude enveloppe
  • V.9 to control the formant frequncy of the paf synthesis module
  • VI.30 and VI.36 for tremolo synchronisation
  • VI.39 to VI.41 to control the speed of spatialisation rotation
  • VII.13, VII.20 and VII.21 to control the frequency shifting level applied on the synful synthesis

Performance Notes

A midi mixer is required to control different levels.

At the end of the piece, there is different reverbs to create the last effect… use the 50s one only for the last sound and 8s just some before.

Viola direct is used only in situation where we can’t have a mixer to plug the microphone.