Welcome to TiddlyWiki created by Jeremy Ruston, Copyright © 2007 UnaMesa Association
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To get started with this blank [[TiddlyWiki]], you'll need to modify the following tiddlers:
* [[SiteTitle]] & [[SiteSubtitle]]: The title and subtitle of the site, as shown above (after saving, they will also appear in the browser title bar)
* [[MainMenu]]: The menu (usually on the left)
* [[DefaultTiddlers]]: Contains the names of the tiddlers that you want to appear when the TiddlyWiki is opened
You'll also need to enter your username for signing your edits: <<option txtUserName>>
These [[InterfaceOptions]] for customising [[TiddlyWiki]] are saved in your browser
Your username for signing your edits. Write it as a [[WikiWord]] (eg [[JoeBloggs]])
<<option txtUserName>>
<<option chkSaveBackups>> [[SaveBackups]]
<<option chkAutoSave>> [[AutoSave]]
<<option chkRegExpSearch>> [[RegExpSearch]]
<<option chkCaseSensitiveSearch>> [[CaseSensitiveSearch]]
<<option chkAnimate>> [[EnableAnimations]]
----
Also see [[AdvancedOptions]]
Anthèmes 2 requires 2 audio inputs and 6 audio outputs.
* the first input is the violin microphone, used for sound processing
* the second input is the violin microphone, used for the score follower
* The 6 outputs are the 6 surrounding channels (see the [[Technical rider]] part)
As an example, here is a Max5 audio set up with the audio card Fireface Firewire 400
[img[images/a2_dspstatus.png]]
Clik the ~IOmapping button to set the input / Output mapping :
[img[images/a2_iomapping.png]]
See [[Performance Guidelines]]
[[Quick Start]]
[[Score Follower]]
[[iPad Lemur or BCF2000 Control]]
[[Levels & Deltas]]
[[MaxMsp patches]]
[[Audio Configuration]]
[[Technical rider]]
[[anthèmes 2 overview]]
[[Performance Guidelines]]
[[TiddlyWikiSetup]]
Here is the main patch overview with some of its subpatches : @@''~Anthèmes2_MMXI_53''@@ is the current version.
[img[images/a2_patchoverview.png]]
When preparing to play in a new hall care should be taken to @@first set the level of amplification for the violin@@.
The level should be @@such that the instrument’s color changes as a result of the amplification but no louder.@@ This is best done playing excerpts (without electronics) of section I – “Très lent”.
Next it is useful to play excerpts (without electronics) of section II – “Rapide, dynamique”, in order to take into account the effect of the pizzicatos. It may be useful to add some reverberation (not too much!) to the violin sound in order to give it more body.
As explained above, ''@@the amplification serves above all to balance the color one obtains through amplification with the color of the electronics.@@'' Once this phase has been completed, the same excerpts can be tried out with electronics.
''N.B.''
If the hall is too dry, the sound of the amplified violin may be slightly reverberated, using an external reverb unit. In any case the reverb must be noticeable.
''@@As a general rule, the level of the amplified violin should be the same as that of the electronics.@@''
The comments that follow will indicate any contradictions to this general rule or supply additional information with respect to balance and interpretation.
**''Introduction – “Libre”'' The level of the infinite reverberation (of the violin and samplers) at the end of the decrescendo should remain loud enough so that the cutoff at cue 11 by the violin be clearly heard.
**''Harmonics (/I, I/II, II/III etc.)'' The infinite reverberation should be clearly audible for approximately five seconds after the violinist finishes the harmonic at the end, before the decrescendo starts.
**''I – “Très lent”'' Particular attention should be given to balancing the sampler pizzicato dyads with the live violin, as of bar 2.
**''II – “Rapide, dynamique”'' In this section @@the balance should be such that the listener is not able to distinguish the live violin from the electronic part.@@ The confusion between the two is deliberate. At the end of the section, wait until the sampler D5 "tenuto" sound in the background fades out before triggering the next harmonics part.
**''III – “Lent”'' During the “chaotic” processes the balance should be such that the listener is not able to distinguish the live violin from the electronic part. The “cloud” processes should be distinctly heard but remain in the background. Particular attention should be given to balancing the sampler dyads with the live violin as of bar 36.
**''IV “Agité, instable”'' @@The spatialization of the violin should be forceful. This needs that in this section the direct signal of the amplified violin fed to the loudspeakers system must be greatly reduced (see below "Sound Engineer tasks", in order to hear properly the spatialization processed by the computer. The sampler sequences starting at bars 1 and 25 as well as the “cloud” processes starting at bar 12 (cue 5) should be distinctly heard but remain in the background.@@ Moreover, in this section the violin should ideally interact and play together with the melody played by the electronics at the beginning and at the end, therefore the electronics should be well audible and present for the violinist himself.
**''V – “Très lent”'' Same remarks apply as for III regarding the two processes. Particular attention should be given to balancing the sampler dyads with the live violin in bar 1, then as of the end of bar 20.
**''VI.1 – “Allant”'' @@The level of the spatialization at all the places marked “moitié-crins/moitié bois” (bars 6, 12, 17 etc.) should be such that the listener is not able to distinguish the live violin from the electronic part, which should be forceful.@@
**''VI.2'' @@Four different kinds of writing are present in this section@@. In order of appearance they are : @@''“Calme, régulier”'' : Light and not too aggressive. ''“Agité"'' : The harmonizer’s level should be such that the listener is not able to distinguish the live violin from the harmonizer. The sampler chords should be distinctly heard but remain in the background. ''“Brusque”'' : Both the solo violin and the sampler sequences should be forceful and aggressive. '“Calme, retenu” : The arpeggiatos should be clear but light. The sinus chords, RM2C (ring modulator to comb) and IR (infinite reverb) should be well blended. The RM2C’s resonance should be clearly heard but not overbearing.@@
**''VI.3 – “Calme”'' The two sampler clusters with infinite reverberation should be distinctly heard but remain in the background. At the end of the decrescendo starting the second half of bar 209, towards the end of the piece, the clusters should remain loud enough so that the cutoff at cue 31 by the violin be clearly heard. The last cue must be triggered in the exact moment when the violinist stops doing the last long trill and plays the final D. Arrangements may be taken with the violinist himself, in order to wait for a sign from the computer music performer.
!Setting Levels for the electronics
@@While the patch contains level settings which are the result of playing the piece in many different places, it is always necessary to make adjustments, to fine tune the electronics with the hall and the sound system and configuration being used.@@
''@@Adjustements shall be made, for each section, during the rehearsal process, changing the values in the Relative Levels number boxes (delta levels, under the absolute levels - these latter ones NOT to be touched) and then storing the changes by mean of the pattrstorage interface named "deltas", located on the left of the patcher "DSP new".@@''
[img[images/abs-deltas.png]]
!Performance Tasks for the Sound Engineer
Apart following the overall balance of the amplified violin and live electronics, the Sound Engineer has some very important tasks to handle during the performance of Anthèmes 2.
* First of all, pizzicato passages should be well comprehensible, therefore they might need to be helped a little by amplification, while passages with “arco" should be not too loud.
* In @@section ''IV''@@, from measure 1 to 11, and from measure 25 to 39, the @@''amplification for the violin should be reduced a lot''@@, in order to hear well the spatialised sound of the violin, processed by the computer. Amplification for the violin must come back again in the middle of the section, from measure 12 to 24.
* @@''Handling the external reverb unit for the violin amplified sound''@@ is also up to the sound engineer. In particular there's a specific need to use ''reverb on violin amplified sound'' @@in section ''VI.3'', to get a better balance between the electronics and the sound of the amplified violin@@. A starting "normally reverberated" and an ending "richly reverberated" presets must be found and stored during rehearsals. From the beginning of VI.3, the sound engineer should gradually increase the amount of reverb for the violin sound, arriving to the rich reverb maximum level towards the end of the section. This process may be done in four steps: from measure 164 in VI.3 to measure 169, the reverb level may gradually increase to half of the maximum, then stay like that until measure 188, and from 189 to 195 increase to the maximum level and stay like that until the end of the piece.
!!Anthèmes 2
* Max4/Msp Electronic Design, by ''Andrew Gerzso'' (1997-2004)
* Score Following Design and Integration by ''Arshia Cont'' (2009) //arshia.cont@ircam.fr//
* Max5 Electronic Design, new Dsp Design by ''Gilbert Nouno'' (2010) //gilbert.nouno@ircam.fr//
* Control redesign for Max 6+ by ''Arshia Cont'' (2014) //arshia.cont@ircam.fr//
*//~TiddlyWiki// documentation by ''Gilbert Nouno'' (last update December 2014 by AC)
This page explains how to run, test and use the patch
!Running the patch
* run Max6.1+ and load the patch @@''Anthèmes2_~MMXI_53_6r.maxpat''@@
* you should see the [[MaxMsp patches]] window
* in the main @@''Anthèmes2_~MMX_47''@@ window click as shown below the message box ''@@dsp open@@'' that brings up the [[Audio Configuration]] window.
[img[images/a2_dsp_open.png]]
* You should do the audio setup once, if you quit the application or Max, it would retains the last audio setup next time you run the program
! The first reset (after the patch is loaded)
* in the main window click the ''@@bang@@'' at the right of the ''@@loadbang@@'' message, then click the ''@@loadbang@@'' message.
[img[images/a2_bang_loadbang.png]]
This reset should be done only one time.
[img[images/first_reset_.png]]
''N.B.''
before doing this first reset, choose your midi faders controller device in DSP_new patcher (see [[iPad Lemur or BCF2000 Control]]), in order to initialize it correctly.
! Initialisation (takes place at the begining of the piece or each time you need to restart a section in rehearsal)
* in the main window click the big ''@@init button@@'' : in the ''@@~DSP_new@@'' patch, the ''@@violin_fx fader@@'' and the ''@@main fader@@'' should turn red :
[img[images/a2_init_faders.png]]
* turn the ''@@DAC@@'' on (the loudspeaker icon)
[img[images/big_init.png]]
The loudspeaker icon turns red to indicates that audio is on
[img[images/a2_dac_on.png]]
! Check the adc
* click the big ''@@init button@@''
* dac should be turned on
* the first two vu-meters on the left are displaying the signals, coming from the console, fed by the microphone of the violin (a DPA_4061). The most left vu-meter is the level of the violin to the sound processing, and the other one is the signal feeding the score follower.
As a general rule of thumb, first set the level for the score follower, looking at the calibration window (see below), so that it reaches nearly the maximum during strong attacks (compression must not be applied).
Then set the level of the violin to sound processing. This signal might be slightly compressed (f.ex. ratio 3:1, threshold -15 dB, attack 2ms, release 100 ms, make-up maximum + 3dB), but in any case, to get a correct balance, the overall level should be equivalent to that one feeding the score follower.
[img[images/vus.png]]
! Set the input level for the score follower
* click the big ''@@init button@@''
* open the ''@@Controls subpatch@@''
* check the Yellow button Audio on/off to antescofo button (should be on 1)
[img[images/controls.png]]
* turn the calibrate toggle on in the ''@@calibrate@@'' window
* if the violin plays, one should see the level in the ''@@calibrate@@'' window, an optimal level requires that strong attack should arrive nearly at the maximum
[img[images/calibrate.png]]
! Test the samples
* in the main window click the big ''@@init button@@''
* open the subpatch [img[images/ctl_new.png]]
** in the patch ''@@~CTL_new@@'' open the subpatch ''@@p test_samplers@@''
[img[images/test_sampler.png]]
** click on the message box under "test ON"
** test the sounds with the 1, 2, 3, 4, 5, 6, 11, 12, 13, 14,15 message boxes, you should hear sound
** click on the message box under "test OFF"
[img[images/test_on_off.png]]
! Running the patch with the recording
* in the main window click the big ''@@init button@@'' (the DAC should be on)
* in the patch [img[images/ctl_new.png]] click on the message box "simul 120 ..."
[img[images/simul.png]]
* in the patch [img[images/p_controls.png]] choose the a2_new_intro.score.txt
[img[images/a2_intro.png]]
* the keyboard letter @@''S''@@ (s for the french "Suivi") toggles the score follower on and off, set it on : the toggle appears with a cross in the [img[images/p_controls.png]] window
[img[images/controls_intro.png]]
* Press the @@"ascograph"@@ button, which will launch the standalone application as shown below visualizing the instrumental score (in piano roll) and electronics. A Cursor in real-time will show the progress into the score.
[img[images/ascograph_intro.png]]
* the [img[images/dsp_new.png]] window should have changed as shown below [img[images/dsp_new_intro.png]]
* in the patch [img[images/ctl_new.png]] click on the message box @@''intro''@@ (or the popup menu above it) : the piece should start with the electronic sounds and with the score follower engaged, please see the [[Score Follower]] menu to know where the score follower is used. Remember the ''@@Right Arrow key@@'' allows you to execute the //''next cue''// in the score (in case one automoatic cue is missed or if you have disengaged the score follower)
* The levels are pre-recorded within the score and the patch, nevertheless you will surely need to modulate them in real time durring the performance, you could do so with some midi faders remote control like ~BCF2000 or Lemur, please have a look at the [[iPad Lemur or BCF2000 Control]] section to setup your midi faders device.
Regarding the score following in Anthèmes 2, this part is done by a module named ''Antescofo'', which uses an encoded score of the piece.
Some parts of the piece are __not__ using ''Antescofo'' __intentionally__, because there is no need to! For example, section IV and VI are enough to trigger by hand.
The movements where ''Antescofo'' is used are :
* Introduction (except for cue 3 and 4 that are triggered manually)
* Section I
* Section II
* Section III
* Section V
* Section VI-A can __optionally__ use Antescofo, but it really depends on your violinist as it is often too difficult.
All the harmonics parts (the transitions) are triggered by hand using the "@@Right Arrow Key@@".
In any circumstance, the patch and ''Antescofo'' have been designed so that at any point one can switch to hand triggering without any hassle: by pressing the @@s@@ key (s for french Suivi) a message is sent to Antescofo that will globally turn off the following and then one can use the "@@Right Arrow Key@@" key to move forward. One can also do this while ''Antescofo'' is on and it won't cause problems.
One should separate the ''Antescofo'' signal on the console and boost its fader to get a good level for the following.
Please, be aware that there are extra cues in VI-A. They are marked by X.5 (like 142.5) and are systematic.
!! Use Ascograph
By pressing the Ascograph button in the @@Controls@@ patcher, you will launch the Standalone application Ascograph. Ascograph (see screenshot below) is designed to MONITOR the placement of in the score. This will help you to situate the performance at any time, using the follower or not.
You can resize the Ascograph window so that it fits your workspace. Additionally, you can disable the top panel from the @@View@@ menu for a more compact view.
"NOTE:" Ascograph is a standalone application. It communicates with Max using internal networks. Therefore, if for any reason AscoGraph quits, you don't need to panic! It won't affect the patch in any ways! Just relaunch it by double clicking on the ascograph button!
[img[images/ascograph_intro.png]]
Electronics by Andrew Gerszo, Arshia Cont and Gilbert Nouno
Anthèmes 2 - Pierre Boulez
* Loudspeakers (The amplifiers should be outside the hall or being silent)
** 2 Loudspeakers with amplifiers, controllers and speakers cables (L, R see map on page 2) (violin reinforcement)
** 6 Loudspeakers with amplifiers, controllers and speakers cables (1 to 6 see map) (electronics diffusion)
Loudspeakers L, R should be type C690, MTD 112 or equivalent
Loudspeakers 1 to 6 should be type D&B C690 or ~MTD115 or equivalent
The exact number of loudspeakers will have to be finalized according to the size and shape of the hall (balcony, etc.)
* Mixing Desk
** 1 mixing desk Yamaha ~DM1000 (with ~MY16-AT card if you use audio interface with adat in/out)
* Effects
** 1 digital reverb type Lexicon ~PCM91
* Microphone
** 1 microphone DPA 4061 + string holder
** 1 UHF wireless system for the DPA 4061
* Computers
** 1 Apple Macbookpro 2,33Ghz minimum, with Max/MSP (4.6 minimum)
** 1 audio interface (2 in, 6 out) type RME Fireface 400
* Cables
** 8 balanced audio lines from the mixer to the amps
OTHERS
The sound control and the computers have to be placed in the audience.
* Lighting
** Focused and graduated lighting for the soloist
** Lighting Control
[img[images/audience.png]]
* [[DefaultTiddlers]]: Contains the names of the tiddlers that you want to appear when the ~TiddlyWiki is opened
You'll also need to enter your username for signing your edits: <<option txtUserName>>
Electronic Realization of Anthèmes 2 by Pierre Boulez
This document describes the procedure for concert realization and preparation of live electronics of Anthèmes 2 for violin and electronics by Pierre Boulez, with minimal human and institutional costs. It describes the procedures and roles of different parties as well as minimal technical and organization information needed to setup the process.
* Parties and Role Definitions
The parties involved in the procedure and their preliminary roles are described as follows:
** Violinist: the person in change of executing and performing the violin section, and participating in programmed rehearsals.
** Computer Music Performer: Is the person in charge of the real-time computer projection. He is responsible for:
*** Preliminary communications with the violinist regarding electronic performance in case the former has no prior experience with the piece.
*** Preparation of electronic acoustics with the sound engineer in the hall.
*** Execution of live electronics during concert and rehearsal
*** Communications with the Violinist; Musical preparation with the violinist
** Sound Engineer: Is the person in charge of sound projection. He/She is responsible for:
*** Studying the venue acoustics remotely and negotiate the technical rider with the Venue Stage/Technical Director.
*** Preparing and adapting the electronic acoustics to the hall acoustics upon arrival.
*** Live mixing and general acoustics control of the speakers during rehearsals and performance.
*** Communications with Venue Technical Director
** Venue Stage/Technical Director: is the person in charge of producing the piece in a venue (concert hall). She/He is responsible for:
*** Initiating communications with the computer music performer and sound engineer in charge of performance.
*** Discuss and negotiate the requested technical rider with third-parties or internal technical director for availability and installment of requested material as described by the computer music performer and sound engineer in charge.
*** Organize the logistics and scheduling of rehearsals for the piece with electronics as close as possible to the requested schedule by the violinist and computer music performers.
This document assumes that the existence of the violinist, the venue and its stage/technical director(s). The computer music performer and sound engineer are provided by Ircam or external to the concert venue. Note that the sound engineer’s role for this performance goes beyond conventional practices of sound engineering and is required to be provided by this party.
* Requirements for the venue
The venue is required to provide:
** Arrangement for rehearsals and technical setup: As discussed during communications between the violinist and the computer realization crew. The piece requires atleast the following for each performance and in chronological order:
*** A technical setup (having speakers, cables and console set) for the sound engineer and calibrating the electronics to the hall (half-day)
*** A rehearsal with the violinist in the hall for live electronic calibration (2 hours service)
*** A dress rehearsal before the concert.
** Arrangement for accommodations: For the violinist, computer music performer and the sound engineer, during the rehearsal and the concert.
** Installations in the concert venue: Prior to the arrival of the technical party, the venue stage director and sound engineer would discuss acoustic issues and the sound engineer would issue a technical plan for equipment setup in the concert venue. The venue should then be equipped with discussed materials prior to the team’s arrival and ready for further assessments. Minimal technical material and coordination required by the venue include:
*** Loudspeakers as described in the technical rider. The exact number and placement of loudspeakers will be finalized during early communications between the venue stage director and the sound engineer.
*** Mixing Desk: As described in the technical rider with ADAT input and output.
*** Cables: 8 balanced audio lines from the mixer to the amps
*** Lighting: Focused and graduated lighting for the violinist on the stage, and a light technical manager to discuss with during rehearsals.
*** Effect: 1 digital reverb similar to Lexicon ~PCM91
* Requirements for the Technical Party
The technical party (Ircam, including sound engineer & computer music performer) would/could provide the following materials:
** Computers, as required for the performance and rehearsal
** Microphones
** Coordination with violinist: In the absence of prior experience in performing the piece.
** Electronic Acoustic Adaptation
** Rehearsal & performance
* Procedure
In chronological order:
** The venue stage/technical director will contact the technical party (ex. Ircam’s Production director, see Contacts) and inform him of the dates of the concert, the program and the violinist. In the communication process, the hall plan would be transferred to the technical party, and a day planning would be established.
** In the event that the violinist is new to this piece, he or she would contact the computer music designer to talk about the performance. This case would involve an additional rehearsal time (either at Ircam or at the venue before the concert), and discussions between the violinist and computer performers for details.
** The sound engineers at Ircam will analyze the room acoustics and will send back a detailed plan for speaker setups to the venue technical director. Discussions will reveal details for installation of speakers before the crew arrival.
** According to the established day-plan, accommodation and travel will be provided by the venue. Upon arrival, the day-planning will be executed.
* Appendix
Sample Day Planning
This is a sample day planning for the performance of Anthèmes 2 in January 2010 in the Chicago Symphony concert hall.
[img[images/ex_schedule.png]]
There are two possible ways to remotely control levels in Anthemes 2, either by using a classical BCF2000 MIDI Controler or by using iPad's LEMUR.
!! iPad Lemur Control
You need @@iPad 2@@ or later with the @@Lemur Software@@ purchased and installed. Upload the @@Anthemes2.jzml@@ file to Lemur App on your iPad using iTunes.
Create a protected WIFI network on your Mac. Set your MAC WFI's TCP/IP (go to Preferences->Networks->Wifi->Advanced) to the following parameters, and Apply.
[img[images/Mac-IP-Config.png]]
Open your iPad, connect to the home network created on your Mac. Click on (i) next to the connection and set to the following parameters.
[img[images/iPad-IP-Config.png]]
!! BCF2000 midifaders
The midifaders are controlling the deltas (or relative levels) of the main useful faders.
* in the main @@''Anthèmes2_~MMX_47''@@ window click the following box
[img[images/midifaders.png]]
which then opens the patch
[img[images/midifaders_patch.png]]
In the center right menu, choose your midi device (and make sure the toggle on the right of the menu is checked). Under the menu the ctlin output should show some midi controllers activity when your device sends midi data.
Your midi device (with either faders ot knobs) should have the following controllers setup on midi channel 1
** CTL 1 :: //main delta level//
** CTL 2 :: //sampler 1 delta level//
** CTL 3 :: //sampler 2 delta level//
** CTL 4 :: //general violin effects (fx) delta level//
** CTL 9 :: //Infinite Reverb 1 delta level//
** CTL 10 :: //Infinite Reverb 2 delta level//
** CTL 11 :: //Infinite Reverb 3 delta level//
** CTL 12 :: //Ring Modulation and Comb filter delta level//
** CTL 14 : //Frequency shifting + Delay delta level//
** CTL 15 :: //4 harmonizers delta level//
The controllers are updated during the piece by the automation from the cues, but you can of course modify their level manually whenever needed.