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

Performance date: May 2, 2002

Documentation date: Dec. 15, 2020

Version state


Validation date: June 29, 2022

Executions dates of this version

  • May 2, 2002,

Version documentalist

  • dpapanikolaou (

Version realisation

Upgrade Motivation

port to Max 8.2


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

Detailed staff

  • 1 tenor saxophone
(Detailed staff comes from Brahms, send mail to for correction.)

Channel details

  • Number of input channel: 1
  • Number of output channel: 4


  • May 28, 2002, Paris, Conservatoire national supérieur, Prix de la classe de saxophone de Claude Delangle.


  • Jobert

Work length

  • 15 mn
Download all files
File Author(s) Comment
Download [218.7 MB] All-in-one JODLOWSKI_Mixtion_2020 Dionysios Papanikolaou


Patch Max/Msp
  • Open Jodlowski_Mixtion_vers-2020.maxpat
  • 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.
  • click on init button (on the patch, bottom right)
  • turn on DSP
  • You’re ready to perform !
  • 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.
  • 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.
  • 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.
  • infos => Shift + “i”
  • Stop => “s”
  • Trigger event => “spacebar”
  • Next Event => Right Arrow
  • Previous Event => Left Arrow

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

Program note

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.

Pierre Jodlowski.

Version documentation creation date: Dec. 15, 2020, 1:33 p.m., update date: June 29, 2022, 10:16 a.m.