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

Performance date: 5 février 2013

Documentation date: 8 février 2013

Version state

Valid

Validation date: 3 mai 2018



Executions dates of this version

  • 5 février 2013,

Version documentalist

Version realisation

  • Philippe Manoury (Composer)
  • Serge Lemouton (Computer Music Designer)
  • Sylvain Cadars (Sound engineer)

Version length

21 mn

Upgrade Motivation

A quick clean-up at the occasion of a performance of Partita 2 for Renater birthday party

Detailed staff

  • violon
(Detailed staff comes from Brahms, send mail to brahms-contenu@ircam.fr for correction.)

Electronic equipment list

Computer Music Equipment

  • 1 MacBook Pro - Apple Laptops (Apple)
  • 1 Max 5 - Max (Cycling74)
    version 5.1.9
  • 1 Fireface 800 - Sound Board (RME)
  • 1 BCF 2000 - MIDI Mixer (Behringer)

Audio Equipment

  • 1 DPA 4061 - Condenser Microphones (DPA)
  • 6 Loudspeaker Line - Monitors and Loudspeakers
  • 1 subwoofer - Subwoofers

Premiere

  • 21 juillet 2012, France, Briançon, Église des Cordeliers, Festival Messiaen au Pays de la Meije

Publisher :

  • Durand

Realisation

  • Serge Lemouton

Work length

  • 17 mn
Télécharger tous les fichiers
File Author(s) Comment
Download [63,4 Kio] Setup Cordeliers-V2_partita2.pdf Sylvain Cadars Loudspeaker setup used for the premiere in Briançon's church
Download [228,3 Mio] Recording(s) Manoury_PartitaII_HSK_CordelierMeije_21072012.aiff Hae Sun Kang Radio-France recording of the premiere
Download [974,0 Mio] Recording(s) PARTITA2-multitrackProject.zip Serge Lemouton Multitrack recording of the DAC, for reference or future portings
Download [1,4 Gio] Patch Partita2.dmg Serge Lemouton Contains all the max patches and applications to perform the piece
Download [534,3 Kio] Score Partita ll_partition.pdf Serge Lemouton

Instructions

Audio and Loudspeaker setup

Software installation

For performance reasons, 5 different patches are running simultaneously on the same computer to play the electronic part of Partita 2 :

  1. Partita-Deux-13.maxpat: Main patch. It has got the interface of antescofo
  2. P2_3fc-06.maxpat: "three frequencies chord" synthesis generated with some continuous sound analysis of the violin
  3. P2_synful_00bSynful synthesis used to play some automatic sequences of notes
  4. P2_spat_01b: 6 channels spatialisation
  5. P2_string_02b: Two virtual physical modeled strings synthesis

The P2_synful_00bP2_spat_01b and P2_string_02b patches should be used in their application form.

Optionnally, you can start all the required application and patch by executing the run_p2b.sh script in the terminal.

Warning: don't launch P2_spat_01b and another application at the same time

files preferences:

MaxMsp file preferences should point to :

  • /PartitaDue-max-RENATER/*
  • /PartitaDue-max-RENATER/data/antescofo_scores

DSP Overview:

This diagram shows the audio routing between the applications:



The audio lines from 9 to 16 are used to communicate between the different applications, so the inputs should be connected to the outputs of the audio soundboard. 
You can do it :
  •  with an optical fiber loop.
  • or in the fireface software, do ctrl + click on the name of the track. It will become pink:

The patches (or applications) communicate via Open Sound Control commands through network (UDP) messages and with audio via optic fiber link on the audio card. 

DSP status and IOSetup:

The IO mappings for each application are shown below:

Max:


String:


Synful:


Spat:


Before using the patch, quit every application to save "DSP status", so "DSP status" will be "on" everytime you open the applications.

System calibration and tests

test "antescofo" with the "testrecording" in "p antescofo":
On the main patch "Partita-Due-13", select "antescofo" in the menu "go to". 
(This menu contains shortcuts for easy access to important subpatches)




a window appears:

 
 1) Click on the bang (Number 1).  It resets everything in antescofo.
 2) Choose a score (for example "Partita-II.1.asco"). 
 3) Choose the event you want to go to. 
 4) Click on play and check that it commands all other patches.
 5) Calibrate antescofo by clicking in the "p calibration" in "p antescofo".
  Check the toggle "Calibrate $1", the waveform must be close to 1:




Simulation test:

in "Partita-2-13", choose "simulation" in the "go to" menu.
This window opens:




We have done 2 recordings of the solo violin part, in "Partita-Due/snd/filage160712" and "Partita-Due/snd/filage170712".
  • Start the follower in the antescofo window as it is explained in the "initialization routine",
  • Choose "filage160712" for example (arrow number1),
  • It will automaticallycheck "play" in the simulation window(number 3), and you will see sound on the meter (number 4).
There are also markers on the recordings called "filage 170712" and "filage 160712"
To begin for example at part 2, number 50 in the score, you can choose it in the window below the file name (number 2).

The simulation violin sound is routed to dac7.

Initialization routine

Run all the patches (2) and applications (3). (see "Software installation")

Open the antescofo window located in the main patch with the "go to" menu.
    1. Reset antescofo by clicking on the blue button between "score" and "jump to cue" (arrow number 1)
    2. Choose the score below "score".
    3. Then you can :
      • "start" (arrow number 6 in System calibration and teststest"antescofo") if you follow the musician or
      •  "play" (arrow number 4 in System calibration and teststest"antescofo") if you want to play the electronic part alone without following anything.

Patch presentation


You can stop the follower by unchecking "suivi" and follow evenements manually with the space bar.

MIDI mixer Setup

Faders of the midi mixer (BCF2000) are programmed to control some parameters during the concert:

    <td class=""> initial value</td>

    <td class=""> ctl</td>

    <td>chan </td>
</tr>
    <td>127 </td>

    <td>7 </td>

    <td>1 </td>
</tr>

<tr>
    <td> Direct</td>

    <td>100 </td>

    <td>7 </td>

    <td>2 </td>
</tr>

<tr>
    <td> string1</td>

    <td>64 </td>

    <td>7 </td>

    <td>3 </td>
</tr>

<tr>
    <td> string2</td>

    <td>64 </td>

    <td>7 </td>

    <td>4 </td>
</tr>

<tr>
    <td> 3fc</td>

    <td>64 </td>

    <td class="">7</td>

    <td>5 </td>
</tr>

<tr>
    <td> sampler</td>

    <td>64 </td>

    <td>7 </td>

    <td>6 </td>
</tr>

<tr>
    <td> synful</td>

    <td>64 </td>

    <td>7 </td>

    <td>7 </td>
</tr>

<tr>
    <td> fx<br>

(effects level)

    <td>64 </td>

    <td>7 </td>

    <td>8 </td>
</tr>
 fader
 Master

Performance notes

For the sound engineer: The violin must be amplified throughout the whole piece except between event I.5 and event I.18 with a crescendo between I.18 and I.19.

For the Computer Music Designer: Score following (with antescofo) is automatic in most of this work except :

  • at the events II.12, II.22bis, II.39, 
  • from II.46 to II.48 included, 
  • II.58, II.59, 
  • and from II.65 to the end of the second movement 
For these events, you should follow manually the intrumentalist (using the space bar).

  • In the perpetuum mobile movement (movement4), click on play precisely when the violinist plays the fist note, the instrumentalist follows the electronic sequence.
  • The follower is on at the beginning of the last movement (until the end of the piece)
  • slow fade-out (approximately 15 ") at the end of the piece.


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


Program note

Partita II, pour violon et électronique en temps réel, fait suite aux travaux et recherches que j’ai entrepris sur [work:28236][Tensio] pour quatuor à cordes et électronique. J’ai voulu approfondir les relations qui peuvent se créer entre les instruments à cordes et les nouvelles lutheries électroniques. Si les outils électroniques utilisés sont semblables à ceux utilisés dans le quatuor, la direction que prend la musique au cours de Partita II est très différente. J’ai surtout exploré diverses manières avec lesquelles le violon a le pouvoir d’engendrer plusieurs structures électroniques autonomes qu’il viendra ensuite commenter, contrepointer, puis modifier. Plusieurs couches sonores indépendantes se déroulent simultanément, dans des tempi différents, entre lesquelles le violon navigue. Le soliste est donc l’origine et l’ordonnateur de toute la musique électronique qui l’environne. À la fin de la pièce, le violon reste seul avec une toupie sonore qu’il fait tourner dans l’espace, à la manière d’un prestidigitateur qui jonglerait avec des éléments en suspension dans l’air libre.
Partita II est dédiée à sa créatrice, la violoniste Hae-Sun Kang.

Philippe Manoury
Note de programme du concert du 16 juin 2017 au Collège de France dans le cadre du festival ManiFeste.

Version documentation creation date: 8 février 2013 04:52, update date: 6 mai 2021 15:09