Io

 
 

Check the up-to-date version of this page at www.saariaho.org/IO-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 that includes infinite reverberation, general reverberation, 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 instruments and electronics on the mixing desk, according to the given context (musical interpretation, equipment, acoustics of the performance space).

Downloads

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.


latest patch version

sound files

Technical requirements

  1. -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

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

  3. -MIDI interface to connect the MIDI keyboard to the computer

  4. -Microphones for 10 instruments: two flutes, bass flute, 2 violins, viola, cello, double bass, celesta, harp

  5. -Mixer & quadraphonic diffusion (plus return monitors for the conductor and the musician triggering the cues)

Order of inputs for the sound interface connected to the computer

Input 1: Flute 1

Input 2: Flute 2

Input 3: Bass Flute

Input 4: Celesta

Input 5: Harp

Input 6: Violin 1

Input 7: Violin 2, Viola, Cello

Input 8: Double bass

Event numbers and bars (this information supersedes the original score markings)

1 1, 2 9, 3 21, 4 27, 5 36, 6 44, 7 50, 8 56, 9 58, 10 66, 11 68, 12 71, 13 74, 14 90, 15 91, 16 95, 17 101, 18 102, 19 103, 20 118, 21 119, 22 120, 23 134, 24 136, 25 147, 26 169, 27 182, 28 188, 29 198, 30 207, 31 227, 32 246, 33 254, 34 256, 35 262, 36 266, 37 274, 38 281, 39 291, 40 308, 41 312, 42 314, 43 end

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.