For general technical notes go to Electronics-general-notes.html

For solutions to common problems go to Electronics-common-solutions.html

General information

The electronics for this piece can be run with a Max patch including general reverberation and pre-recorded sound files.

Cues in the score must be triggered by the percussionist with one or several sustain pedals (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, voice and electronics on the mixing desk, according to the given context (musical interpretation, equipment, acoustics of the performance space).

Downloads

latest version (including sound files) does require Max installation

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. -Headset microphone (e.g. DPA: www.dpamicrophones.com)
   

4. -Directional microphones, number depending on the percussion set-up and performance space
   

5. -Mixer & quadraphonic diffusion around the audience (possibly a return monitor for the percussionist)
   

Inputs/outputs for the sound interface and diffusion

Live percussion microphones premix -> input 1

Voice of the percussionist -> input 2

Pre-recorded percussion and voices -> outputs 1 to 4.

Spatialized live and recorded percussion and voices -> outputs 5 to 8.

Outputs 1 to 4 & 5 to 8 should be set on the mixing desk to produce two superimposed quadraphonies diffused around the audience.

Performance notes

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

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