Ejnar Kanding Canzone 1-3 (2015) Version for violin for string instrument and live-electronics (Max) Dur. 16′
SCORE
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Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond
Ejnar Kanding Canzone 1-3 (2015) Version for violin for string instrument and live-electronics (Max) Dur. 16′
NOTE The work Canzone 1-3 for string instrument and live-electronics. The beautiful and intimate is in focus. It might be lullabies. The three pieces are available for violin, viola, or cello solo, and liveelectronics. They can be performed as independent pieces or in any combination.
LIVE ELECTRONICS The live electronics are indicated in the score as a number of cues to be triggered using the spacebar on a computer or a MIDI pedal. It is recommended that a person located roughly in the middle of the hall controls the overall sound balance. The appendix provides descriptions of the cues and gives an indication of what is happening in the live electronics. SETUP The piece is developed for a quadrophonic loudspeaker setup (L=1 R=2 Lr=3 Rr=4), but it can also be performed in stereo. Front of house must have subwoofers, rear speakers should be the of the same kind as the front speakers. Make sure the volume is balanced between the four speakers. MIXING The piece can be performed using either a mixing console that is connected to an audio interface or just an audio interface. If a mixing console is used, connect the microphone and the four outputs from the audio interface (output 1-4) to the mixer inputs. The mixer outputs are again connected to the loudspeakers. The AUX send 1 (in PRE mode) from the mixer is connected to the audio interface (input 1). í í í í í
AUX1 sends the microphone signal to audio interface input 1 audio interface output 1 – through the mixer continued to L speaker audio interface output 2 – through the mixer continued to R speaker audio interface output 3 – through the mixer continued to Lr speaker audio interface output 4 – through the mixer continued to Rr speaker
If only an audio interface is used, connect the microphone to input 1 of the audio interface and connect audio interface output 1-4 directly to the loudspeakers. In both cases if you plan to perform in stereo, just two outputs are connected to the speakers. The instrument has to be amplified so that it appears with a clear, present sound. Use some EQ to compensate for the close-miking, and add reverb and compressor if necessary. REHEARSING INDIVIDUALLY To become familiar with the sound of the live electronics rehearsing is recommended as follows (after downloading the Max software, see the next page): Let the internal microphone of the computer picks up the sound of the instrument, and use the spacebar to trigger cues in the score. Make sure that the input is not distorted. Go to System preferences → Sound → adjust the input level. Connect headphones to the audio output of the computer. Set a suitable volume. Headphones are necessary to avoid feedback. CONTACT Ejnar Kanding · Anker Heegaardsgade 17 · DK-3300 Frederiksværk · Denmark ejnar@kanding.com · t: +45 20761179 · skype: ejnarkanding · http://kanding.com
TECHNICAL REQUIREMENTS HARDWARE: Computer: MacBook Pro, OS 10.10 or later, 8 GB RAM Audio interface: e.g. MOTU 896mk3, MOTU 8M or RME Fireface UFX+ MIDI-pedal: (optional) connected to the computer via a MIDI-keyboard or MIDI interface that connects to a (sustain) pedal – e.g. Audiofront MIDI Expression or TEControl Quadrophonic loudspeaker setup: PA system, 4 identical loudspeakers (L-R-Lr-Rr) & 2 subwoofers (L-ACOUSTICS or d&b audiotechnik recommended) Digital mixing console (if used): At least 1 mic input, 4 line inputs, 1 aux send (PRE), 4 outputs for loudspeakers (YAMAHA 01v96 recommended) Microphone (suggestion): DPA 4099 SOFTWARE: The patch used for performances has been developed in Max 7. A download of Max (which is required to run the supplied patch) is available from Cycling ‘74. The trial version of Max is fully functional for 30 days. After 30 days, it is still possible to run and edit Max patches, but changes cannot be saved without a purchased authorization. Not being able to save changes will however not affect running the supplied patch(es) in any way. The patch can be downloaded from the Edition·S website: http://www.edition-s.dk/assets/canzone-1-3 All files must remain in the same folder on your computer. Below is a description of the basic features for running the software: í Open the patch (.maxpat) with the title of the piece. í In the left corner is the “start Max” – to start press the gray button that says “dsp start”. í Below is “IO mapping” where the correct inputs and outputs can be selected by pressing the “dsp status”. í If a mixing console is used: Channel (group) 1 set to Input 1. í If just an audio interface is used: Channel 1 set to Input 1. í For rehearsing: í Channel 1 set to Input 1, channels 2 and 3 set to Off í Output 1=L speaker, output 2=R speaker, output 3=L rear speaker, output 4=R rear speaker. (For stereo set channel 3 and 4 to Output 1 and 2.) í Below is the “stop Max” – press “dsp stop”. It stops all audio. í Below is the “INIT Max” – press the circle inside the square. INIT is used before the start of a concert to restart from cue 0. Then press forward to cue 1 and cue 2 to start the piece. í Below is the “CUE” – it shows the cue that is active. í Below is the “go to CUE”. Press the small triangle on the left side of the square. Enter a number to obtain the desired cue number. Press enter. The next press of the spacebar / MIDI pedal activates the cue, which was written. Since the real-time processing that is going on in the patch is rather complicated, it is recommended to close the patch both before a concert performance and sometimes while rehearsing.
EJNAR KANDING: CANZONE 1-3 – APPENDIX 1 vn pno 1,4,3 rvb MTD ms samp
violin piano means bar 1, 4th beat, 3rd sixteennote reverb multi tap delay: 5000 7500 11250 15000 ms ms = millisecond, 1000 ms = 1 sec sample transposer 5000 ms = 1 bar
CANZONE 1 CUE
ACTION
1
ready to start
2
MTD: 3750 5000 6250 7500
2
audio file: drone on C0
3
SEND
STARTS STARTS TO BE HEARD ENDS
open vn
1,1
1,4,1
7,1
1,1 close vn
beginning of 9
5,3
4
audio file: chord as pno
10,1
overlaps 11
5
audio file: chord as pno
11,1
overlaps 12
6
audio file: chord as pno
12,1
overlaps 13
7
audio file: chord as pno
13,1
overlaps 14
8
audio file: chord as pno
14,1
overlaps 15
9
audio file
47,4
59,1
10
MTD: 5000 7500 11250 15000
11
MTD fadeout in 5000 ms
12
audio file
open vn
close vn
48,2
49,2
55,1
54,1
55,1
59,3
end of 64
CANZONE 2 CUE
ACTION
1
ready to start
2
MTD: 12500 15000
2
audio file
3 4
MTD: 7500 20000
5 6
MTD: 10000 12500 15000 17500
7 8
MTD: 10000 20000
9
SEND
STARTS STARTS TO BE HEARD ENDS
open vn
1,1
3,3
11,1
1,1
1,1
end of 64
11,3
16,1
20,1
28,3
29,1
34,1
36,1
41,1
close vn
8,1
open vn
10,1
close vn
13,1
open vn
18,1
close vn
25,1
open vn
27,1
close vn
30,1
open vn
34,1
10
MTD: 10000 15000 17500 20000
11
MTD off
37,1
12
long rvb
37,3
13
long rvb off
64,4
end of 64
CANZONE 3 CUE
ACTION
1
ready to start
2
audio file
3
record vn to sample buffer
4
SEND
STARTS STARTS TO BE HEARD ENDS
1,1
1,1
end of 33
20,1
24,1
32,1
recording fadeout in 5 secs
23,1
23,3
24,1
samp buffer starts playing after 5 secs
23,1
26,1
26,1
34,1
32,1
32,1
end of 39
40,1
40,1
in bar 58
57,1
57,1
end of 64
samp input off
open vn
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samp buffer is repeated 10 secs after 24 5
samp buffer starts playing
6
audio file
7
samp buffer starts playing
close vn
close pno
24,2
Canzone 1
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Version 1.3: 23.7.2015
Ejnar Kanding: Canzone 2 - (vln.) - 10
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Version 1.3: 23.7.2015
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Ejnar Kanding: Canzone 2 - practice score - (vln.) - 19
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Ejnar Kanding: Canzone 3 - practice score - (vln.) - 22
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Ejnar Kanding: Canzone 3 - practice score - (vln.) - 23
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Ejnar Kanding: Canzone 3 - practice score - (vln.) - 24
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