[integra-dev] integralive case study: "lichtweiss"

Mon Jul 12 21:43:30 BST 2010

Hi Peter,

We will be following the same approach as you are - developing modules as they are necessary for the migrations, in order to verify the usability of the system.

We'll be migrating a piece by Tristan Murail, WInter Fragments, in August, and are looking forward to seeing how well the tools perform.

A few years ago, also following the same approach, we had a simple piece migrated, but the overhead due to the namespace was enormous.  Since that time, the system has been rewritten, and we hope for better performance now.  Let us know your experiences - we'll sure share ours.

Best wishes for a great summer,

- Jøran Rudi

On 12. juli 2010, at 13:30, Peter Plessas wrote:

> Dear Developers,
> 
> I am grateful that integralive (IL) is approaching a more useable status
> and thank all of you for your support and work!
> 
> I am now using the developers list as a user feedback list. I hope other
> people using this application subscribe as well.
> 
> I joined the project later than most of you, so please excuse
> if I raise questions which have already been discussed elsewhere (and
> let me know so).
> 
> With all the talk about migrating work, I would like to use the third
> piece to be migrated by IEM, Roland Dahinden's "lichtweiss" for solo
> string player and live electronics, as a case study to test ILs
> availability for use. Regarding DSP technology, it is a rather simple
> piece, and fun to play for the musician involved (hence case-study).
> The piece consists of five passes (movements) which
> are layered above each other by recording and playback. Sounds simple,
> doesn't it? So lets see how IL could do it:
> 
> Below is a description of the live electronics and a list of
> requirements to IL.
> This survey was done with IL version [142:10b] 2010-07-09
> 
> ----------------------------------------------------------------------
> 
> Spatialisation of a live input by a four channel random autopanner
> without audible latency. This is always "on" and used for the dry
> amplification and spatialisation of what is played by the performer.
> 
> Record a mono soundfile A (triggered by a single cue) of what the
> performer plays in [Movement 1].
> 
> Playback a mono soundfile A spatialized through its own four channel
> random autopanner, while another mono soundfile B is recorded (all
> triggered by a single cue)
> [Movement 2]
> 
> Playback of mono soundfiles A and B in parallel, with each one being
> spatialized through an individual four channel autopanner, while another
> soundfile C is recorded (all triggered by a single cue)
> [Movement 3]
> 
> Playback of mono soundfiles A,B,C in parallel, with each one being
> spatialized through an individual four channel autopanner, while another
> soundfile D is recorded (all triggered by a single cue)
> [Movement 4]
> 
> Playback of mono soundfiles A,B,C,D in parallel, with each one being
> spatialized through an individual four channel autopanner (all triggered
> by a single cue)
> [Movement 5]
> 
> All soundfiles need to be of arbitrary length.
> A visual indicator for the end of each soundfile playback needs to be
> included.
> Pressing the cue for the next movement has to stop playback of the last
> cue with a fade-out.
> A 100 msec fade at the beginning as well as at the end of each soundfile
> has to be done while recording.
> A "stop" cue needs to be inserted to abort all recording and playback
> operations. It must be possible to resume the piece at the beginning of
> any movement for rehearsals, reusing previously recorded files (recorded
> up to this point).
> A faderbox (BCF2000) will serve as an interface for an analog footswitch
> into MIDI, for triggering the cues listed above.
> The playback volume of all four soundfiles A,B,C,D has to be
> controllable through the same midi faderbox.
> ------------------------------------------------------------------------
> 
> Results / open issues:
> 
> The four-channel autopanner can be three normal panners ganged together
> (one doing left/right, and two other panning these two signals
> front/back). So far the IL [panner] has no control input, and if a
> control input would exist what could be used as a modulation source? A
> workaround could be to draw quasi-random breakpoint functions into IL's
> timeline? I saw a quad-panner~.pd somewhere in the IL folders...
> 
> I did not find a soundfile recorder.
> 
> How can the musician trigger four different recordings of a four
> soundfiles? as described above?
> 
> How can the soundfiles receive a fade in and fade out as they are being
> recorded?
> 
> How can one load sound files into the soundfile player module?
> 
> How can one control the playback of soundfiles from a cue using
> soundfiles which are yet to be recorded? A workaround could be to use
> empty dummy files which are then overwritten at recording time...
> 
> How can I use more than two dac outputs of my computer?
> 
> What is the intended use for the clock module?
> 
> How can I trigger cues via MIDI?
> 
> How can I control volume faders via MIDI?
> 
> How was the decision made about which modules are available in the
> current version of IL?
> 
> One other thing comes to my mind: Frequencies should be input using a
> logarithmic scale.
> 
> -------------------------------------------------------------------------
> 
> I am looking forward to hear how I could implement "lichtweiss" using
> IL. Plus, I need to determine a realistic time at which IL will be
> useable for real stable live work satisfying the above requirements and
> I need your help in doing so.
> 
> thank you all!
> 
> Peter
> 
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Jøran Rudi
--
Faglig leder/Artistic and Research Director
NOTAM
Nedre gate 5
N-0551 Oslo
Tel: +47 2235 8060
Skype: joranrudi
http://www.notam02.no
--
Regional Editor Organised Sound
http://www.journals.cambridge.org/OSO