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

Documentation date: May 10, 2020

Version state


Validation date: Dec. 7, 2020

Version documentalist

  • poletti (

Version realisation

  • Olivier Pasquet (Computer Music Designer)
  • Manuel Poletti (Computer Music Designer)
  • Sébastien Naves (Computer Music Designer)

Version length

10 mn

Upgrade Motivation

Porting from Max7-32bit to Max8-64bit platform.


- tested in studio with simulation sources
- untested in concert
- converted soundfiles from 44.1KHz to 48KHz
- rewrote (simplified) visual clicktrack patch and OSC communication
- 64bit version of all involved Max external objects
- porting of reverb section to IRCAM Spat5
- fixed soundfile naming alphabetic order issue
- replaced MIDI-in pedal system
- wrote simulation training patch
- added instructions & comments in the patch
- added mixing facilities (harmonizer, player, reverb)
- fixed several dsp issues

Detailed staff

  • soloist: 1 unspecified solo female voice
(Detailed staff comes from Brahms, send mail to for correction.)

Channel details

  • Number of input channel: 1
  • Number of output channel: 6

Electronic equipment list

Computer Music Equipment

  • 1 Retina - Apple Laptops (Apple)
    For live-electronics
  • 1 MacBook Pro - Apple Laptops (Apple)
    For visual clicktrack on stage
  • 1 Mac OS - OS (Apple)
    Mac OS Mojave 10.14.6 or later
  • 1 RJ 45 Cable - Cable
    For control-room/stage computer synchronisation
  • 1 Max 8 - Max (Cycling74)
    To run the Max8 patch
  • 1 Sound Board - Sound Board
    Able to output at least 8 separate audio channels
  • 1 BCF 2000 - MIDI Mixer (Behringer)
    MIDI mixing (optional)
  • 1 Footswitch / Sustain Pedal - Footswitch / Sustain Pedal
    For on-stage event-triggering
  • 1 Midi interface - MIDI Interfaces
    To connect the MIDI pedal to the main computer
  • 1 MIDI booster - Booster
    MIDI-solution for on-stage sustain-pedal

Audio Equipment

  • 1 DPA 4088 - Condenser Microphones (DPA)
    For soprano voice
  • 1 HF System - HF System (Sennheiser)
    For soprano microphone
  • 8 Loudspeaker - Loudspeakers
    2 speakers for frontal diffusion + 6 surround speakers
  • 2 subwoofer - Subwoofers
    General bass reinforcement
  • 1 Digital Mixing Desk - Digital Mixers
    Able to output at least 10 separate audio channels
  • 1 Reverberation Processor - Reverberation
    Global reverberation peripheral


  • April 7, 2007, <p>Monaco, festival Printemps des Arts</p>


  • Billaudot


  • Olivier Pasquet

Work length

  • 10 mn
Download all files
File Author(s) Comment
Download [18.5 MB] Document Documentation-pages Manuel Poletti
Download [5.4 MB] Document Documentation-pdf Manuel Poletti
Download [5.3 MB] Document Documentation-word Manuel Poletti
Download [8.8 MB] Score Lamento Score 2017 Added events numbers in score
Download [1.6 MB] Technical rider Lamento technical setup Sebastien Naves
Download [508.8 MB] All-in-one Lamento-May2020-Max8 Manuel Poletti After Olivier Pasquet's original patch. In case of difficulty to mount the .dmg file, open it with the Disk Utility application (/Applications/Utilities/Disk Utility).


The piece requires a Max expert in charge of the live-electronics, computer equipment setup and software installation.

A Max expert is also required during the performance, in charge of handling and mixing the elements of the live-electronics.

A sound engineer in charge of sound amplification, P.A./stage equipment setup is also required.

The solo voice is amplified and diffused through two front speakers.

The control-room computer centralizes and processes all live-electronics.

The solo voice is captured - through a headset/wireless microphone - and processed in the Max software, which diffuses multichannel audio (6 channels).

The singer triggers live-electronics events mentionned in the score, through a sustain pedal, so live-electronics events occur in sync with the singing.

The on-stage laptop displays the triggered cues as well as a coutdown on some of the events - also mentionned in the score.

Both control-room and on-stage computers communicate through some MIDI (pedal) and Ethernet (OSC/UDP protocols) connections.

Events might be of different kinds: mainly triggering soundfiles and voice harmonization settings, in addition to reverberation settings.

Live-electronics are diffused through 6 speakers placed in a surround fashion around the audience.

Soundfiles are stereo and diffused in front speakers, while harmonizations and reverb are diffused through all 6 speakers.

Please download the PDF documentation for any further instruction about the piece and the present version

© IRCAM Creative Commons License
This documentation is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Version documentation creation date: May 10, 2020, 2:24 p.m., update date: May 6, 2021, 3:09 p.m.