Six Japanese Gardens
 
 

Check the up-to-date version of this page at www.saariaho.org/SixJapaneseGardens-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 percussionist with sustain pedal(s) (or by another musician 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 percussion 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.


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


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. -One or several sustain pedals (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. -Directional microphones, number depending on the performance space and percussion set-up

  4. -Mixer & stereo diffusion (possibly a return monitor for the percussionist)

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 microphone(s) should be placed as close to the instruments as possible.
The general level should be rather loud, but not painfully so.