Folia

 
 

Check the up-to-date version of this page at www.saariaho.org/Folia-electronics.html

For general technical notes go to www.saariaho.org/Electronics-general-notes.html

For solutions to common problems go to www.saariaho.org/Electronics-common-solutions.html

General information

The electronics for this piece can be run with a Max patch including all effects.

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

Download

IMPORTANT: in recent MacOS versions, there is a known issue when downloading

Max standalones through browsers (such as Safari, etc.)

Before to download, one needs first to go to ‘System Preferences/Security & Confidentiality/General’

and check ‘Authorize the applications downloaded from: anywhere’.

If you do not do it, the system will display a misleading message saying that the ‘file is damaged’.

You just need to change the security parameters as described above, then restart the standalone.


Special note for MacOS Sierra: the ‘anywhere’ option is by default disabled. To enable it again:

start the application Terminal and type the following:

« sudo spctl --master-disable »


Latest patch version

Technical requirements

- Macintosh computer equipped with an external audio interface compatible with Max (cf: www.cycling74.com), e.g. Motu: www.motu.com, Digidesign: www.digidesign.com, RME: www.rme-audio.com.

  1. -Microphone for the double bass

  2. -Mixer & stereo diffusion (possibly a return monitor for the double bass player)

Notation of reverberation and delay

The effects are marked ‘R’ (reverb) and ‘D’ (delay) in the score. The use of effects is marked with approximate percentage numbers, for example



means that the level of the delay effect should starting from 0 is raised until it reaches 75%, and then drops back to 25%.


Performance notes

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

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