Check the up-to-date version of this page at www.saariaho.org/Lonh-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 pre-recorded sound files.

Cues in the score must be triggered by the soprano with a sustain pedal (or by another musician at the mixing desk).

The score mentions two microphones, one for general amplification, the other only for the spoken parts, the levels being controlled at the mixing desk according to the score. This can be also achieved with only one microphone, specially when using a headset.

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


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.

For MacOS Sierra and later: 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. -Sustain pedal (for Max triggering) connected to the computer through a MIDI keyboard, or through a MIDI interface and a voltage-to-MIDI converting device, e.g. MIDI Solutions’ Footswitch controller, see www.midisolutions.com

  3. -Microphone for the soprano (preferably headset, e.g. DPA: www.dpamicrophones.com)

  4. -Mixer & quadraphonic diffusion (possibly a return monitor for the soprano)

Performance notes

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

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