Lichtbogen

 
 

Check the up-to-date version of this page at www.saariaho.org/Lichtbogen-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 harmonizers and general reverberation.

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).

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

  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 cues from the computer

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

  4. -Microphones for flute, two violins, viola, cello, double bass (and percussion if necessary)

  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: Violin 1

Input 2: Violin 2

Input 3: Viola

Input 4: Cello

Input 5: Double bass

Input 6: Flute

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

1 1, 2 40, 3 73, 4 77 5 96, 6 110, 7 149, 8 172, 9 192, 10 197, 11 204, 12 246, 13 287, 14 327

Notation of harmonizer and reverberation

The harmonizer is marked in the score
and the reverberation
.
The movements of the harmonizer are marked

and those of the reverberation

The use of this effect is marked with approximated percentage numbers, so that for example


means that the level of the harmonisation starting from 0 is raised until 75% and then drops back to 25%.

The amount of the input to the effects is marked
=0%,
=25%,
=50%,  etc.

For best result two persons would be needed: one for the actual mixing, and an assistant for turning pages and following the score.

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.