For general technical notes go to Electronics-general-notes.html

For solutions to common problems go to Electronics-common-solutions.html

General information

Aer is the seventh part of the ballet Maa (see the page about Maa for details), but it can also be performed separately.

The electronics for this piece can now be run with a Max patch that includes effects for the instruments, general reverberation, a simulation of the synthesizer used in the original version, and plays the pre-recorded sound files.

An additional musician is required to trigger the cues in the score. They should do this from a position within the ensemble using a MIDI keyboard (or directly on the computer at the mixing desk).

In both rehearsal and performance the sound engineer/musician should read the score and adjust the relative levels of the ensemble and electronics on the mixing desk, according to the given context (musical interpretation, equipment, acoustics of the performance space).


latest version (including sound files) does require Max installation

Technical requirements

  1. -Macintosh computer equipped with an external audio interface compatible with Max (cf:, e.g. Motu:, Digidesign:, RME:

  2. -MIDI controller keyboard (5 octaves) to trigger the pre-recorded sounds from the computer

  3. -MIDI controller keyboard (5 octaves) for the synthesizer simulation

  4. -MIDI interface with 2 inputs, to connect the MIDI controller keyboards to the computer

  5. -Microphones for violin, viola, cello, harp, flute, harpsichord and percussion

  6. -Mixer & quadraphonic diffusion (plus return monitors for the conductor, the keyboardist playing the synthesizer and sampler simulations, and the musician triggering the cues)

Inputs for the sound interface connected to the computer

Input 1: Violin

Input 2: Viola

Input 3: Cello

Input 4: Harp

Input 5: All instruments mix (violin, viola, cello, harp, flute, harpsichord and percussion) for reverberation)

Performance notes

The amount of amplification required naturally depends on the performance space, but it should never cover the acoustic sound of the instruments.

The ideal sound is a clear and rich 'close’ sound. The microphones should be placed as close to the instruments as possible.
The general level should be rather loud, but not painfully so.