Sun Rings
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Prepared by David Dvorin
The electronic media utilized in a performance of Sun Rings consists of three types: linear audio to be played back from start to finish, samples which are triggered by the performers as indicated in the score, and click tracks which allow the performers to play in sync with the linear audio (via the performers’ earpieces/headphones and not heard via the main speakers). Each movement has its own set of related media, with all movements utilizing linear audio playback and only some utilizing samples and click tracks. Click tracks have been omitted for movements when tempo information is supplied via the linear audio (pulse is audible), or for parts where synchronization is not necessary. Please note that all movements require the linear audio as well as click tracks (if utilized) to start before the string quartet plays (cued by the audio engineer), serving as introductory material as well as supplying tempo/bar information to the players. In order to synchronize with the score, this start time always represents the first measure of the score.
The following chart provides an overview of the media utilized in each movement:
Sun Rings Overture
Danger
Beebopterismo
String quartet improvise with samples only (no strings)
• Alternate Group 7-8 for use in quad
• Click track fades out at m.63 (quartet holds own tempo)
2 sections of linear audio: Intro: cued at start (m.1) Coda: cued at m.166
Choir (click track fed to conductor as well as quartet)
Kiss
The Electron Cyclotron Frequency Parlour
Prayer Central
• 2 sections of linear audio: A: cued at start (m.1) B: cued at m.103
• Choir (click track fed to conductor as well as quartet)
• No Group 1-2 and Group 7-8 stereo for B section
• Alternate Group 7-8 for use in quad (including B section)
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Improvisational use of sampler instruments throughout (in addition to strings)
One Earth, One People, One Love X
Stereo vs. quadraphonic presentation
Additional linear audio: Gene Cernan (audio quote)
Linear audio has been mixed for both stereo and quadraphonic presentation in the form of interleaved stereo stems named Group 1-2, 3-4, etc. Together, these stems form a composite mix, and each should be aligned to the same start point (“00:00” in minutes:seconds and m.1 of the score) on separate channels within the playback system, playing simultaneously to recreate the intended mix regardless of stereo or quadraphonic presentation. There is no need for gain or pan adjustments for individual stems, as all are mixed in relation to each other and should remain as stereo pairs with balance set to the middle and gain at unity. However, separating the audio material into stems allows the audio engineer to make small adjustments (EQ, gain) to better suit the acoustics of the performance space (i.e. roll off low end) if needed, and ultimately route the material via channels to different speakers depending on the desired presentation (stereo or quadraphonic).
If all groups/channels are outputted to a main stereo bus, then the mix should sound exactly as intended without any downmixing required. If a quadraphonic speaker array is utilized, Groups 1-6 should be outputted to the main stereo speakers flanking the performers (front), while Group 7-8 can have some of the signal routed to the speakers situated behind the audience (rear) in order to create an enveloping and immersive experience. Note that two movements (“Hero Danger” and “Prayer Central”) have alternate Group 7-8 stems (named “quad”) that have been optimized for quadraphonic presentation and should be used in place of the normal Group 7-8. In this circumstance, “Group 7-8_quad” stems should be routed solely to the rear speakers (100%). Depending on speaker layout, acoustics, and physical space, the rear channel material may have to be balanced so as not to distract from the stage performance (and audience attention should generally be fixed forward).
Sampler instrument output in a quadraphonic setup should mostly be routed to the front speakers, as this helps to “tie” triggered sounds to the performer’s gesture onstage. In the movements which utilize a heavy amount of triggered sampled sounds (“Sun Rings Overture” and “Venus Upstream”), it is permitted to mix some of the sampler instrument output to the rear speakers as well to create a more immersive experience, or perhaps randomize panning within the entire speaker array (see Sampler Programming). Venus Upstream X X X
Sun Rings Electronic Materials
Sampler programming
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The provided samples are mono and stereo audio files that are to be loaded into a sampler instrument (software or hardware) and triggered via MIDI signals from controllers utilized by the performers on stage (see MIDI controllers, under Equipment). The samples have already been optimized (trimmed, processed, etc.) and are set to the correct volume level in comparison to the linear audio so that simple note on/off MIDI controllers without velocity levels can effectively be utilized. In order to employ these samples within performance, the audio engineer is required to create simple sampler instruments within the playback system of their choice (see Digital Audio Workstation under Equipment), addressing the needs of the individual movement (see below).
When constructing these sampler instruments, key (pitch) mapping is generally minimal, with some movements simply requiring a single sample to be mapped across all notes/keys, while others have simple one-key-per-sample zones (like drums). While most movements require the samples to be played back at original pitch/speed (pitched playback disabled), some movements ask for key mapping that includes pitch/ speed transposition, creating a chromatically tuned instrument (default function of most samplers). For the latter instance, sample names will include the key/root note (MIDI key at which the sample plays back at recorded pitch/speed) to aid programming.
Each sample is meant to be played through in its entirety (referred to as "one shot” by most samplers), and NOT meant to be looped or interrupted/gated by any following trigger events. This is generally accomplished by setting the instrument to playback in poly (or polyphonic) mode (instead of mono or legato). As most samples have been adjusted to blend with the accompanying linear audio, it is generally not necessary to have incoming velocity signals change the output level of playback. However, in the movements where triggered samples play a major part of the performance (“Sun Rings Overture” and “Venus Upstream”), MIDI velocity may be changed via a continuous controller message (proximity) in order to create dynamic instruments that vary their output.
Additional programming can also help to create a compelling performance by eliminating static playback of repeated samples. Panning, output level, sample start time, envelope, and filter settings can be randomized (or modulated within a range by incoming MIDI continuous controller data), creating a dynamic performance as well as utilizing the speaker array to its fullest. The implementation is left to the discretion and interest of the audio engineer to help to create an expressive performance of Sun Rings
Please refer to the following chart which outlines the sampler instrument programming requirements of individual movements (movements without samples are omitted):
Sun Rings Overture:
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NOTE: all performers are triggering electronics only. Randomization should be used to break up static playback and should include incoming MIDI note values (pitch) so that the different sounds are played back indeterminately when triggered. Randomization can also be utilized to shape the sample playback by assigning to filters, pitch bend, etc.
Overture Kit 1-7
Discretion of players
1 Single-key-persample zones (drums)
Random MIDI note input, random panning 2 Meow Drone C3
• Key/root note = C3
• Range = C3 to C5
Random MIDI note input, random panning, 40% release time for Amplitude Envelope 3 Vox 1-22
Discretion of players
Single-key-persample zones (drums)
Whizzer Doppler Stereo Discretion of players Cello Pitch map:
• Key/root note = C3
• Range = C3 to C6
Random MIDI note input, random panning
Random MIDI note input, random panning, 75% release time for Amplitude Envelope
Beebopterismo:
NOTE: because the quartet is busy playing when these are cued, it is perhaps easiest for the audio engineer to trigger these while following the score.
Sun Rings Electronic Materials
Planet Elf Sindoori:
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NOTE: Low Stock 1 is played throughout at designated times by Violin I, Violin II, and Viola.
Low Stock 1
Low Stock 1
2
Low Stock 1
3
Earth/Jupiter Kiss:
Stereo m.14, 20, 23, 26, 29, 106, 109, 112, 202
Stereo m.11, 17, 32, 44, 47, 53, 70, 82
Violin 1 Key mapped across all keys with no transposition (pitch bypass)
Violin 2 Key mapped across all keys with no transposition (pitch bypass)
Stereo m.73, 85 Viola
Key mapped across all keys with no transposition (pitch bypass)
None
None
None
NOTE: Boom Pulse/Gong is played throughout at designated times by Violin I.
Boom Pulse/ Gong
1
Venus Upstream:
NOTE: the samples provided are a collection of sounds that can be triggered at the discretion of any member of the quartet during passages marked in the score (with the exception of Laugh/MetalPiano/Gong). The audio engineer can choose how to best implement this by either combining all samples in a single sampler instrument (and then duplicating for each player to put to use), or by creating four (one for each member of the quartet) sampler instruments with different sets of samples assigned, giving each player their own unique palette to perform with and contribute towards a whole. If a single instrument containing all samples is the strategy utilized (former choice), then it is advisable to assign Sampler
Stereo m.96, 103, 109, 117, 121, 128, 134, 138
Violin 1 Key mapped across all keys with no transposition (pitch bypass)
None
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each sample to a single key zone, creating a large “percussion kit” with which the players may improvise.
Regardless of the programming strategy, randomization should be used to break up static playback and should include incoming MIDI note values (pitch) so that the different sounds are played back indeterminately when triggered. Randomization can also be utilized to shape the sample playback by assigning to filters, pitch (or pitch bend values), etc.
Of special note is the sample Laugh/MetalPiano/Gong which is used to conclude the movement and triggered by Violin 1 after the quartet holds out the final chord. This sample should reside in its own sampler instrument and not randomized in it’s playback. Sampler
1 (see note) Metal Piano Phrases 1-6
1 (see note)
1 (see note)
Stereo Throughout See above Single-key-persample zones (drums)
Bosh Vox 1-3
Rez Vox 1-9
1 (see note)
1 (see note)
1 (see note)
Stereo Throughout See above Single-key-persample zones (drums)
Stereo Throughout See above Single-key-persample zones (drums)
Stick Stereo Throughout See above Single-key-persample zones (drums)
Ganymede Percussion 1-9
Ganymede Perc Loop 1-3
2 Laugh/ MetalPiano /Gong
Stereo Throughout See above Single-key-persample zones (drums)
Stereo Throughout See above Single-key-persample zones (drums)
Stereo After last bar (ending) Violin 1 Single-key-persample zones (drums)
Random MIDI note input
Random MIDI note input
Random MIDI note input
Random MIDI note input, Randomize playback pitch (via pitch bend?)
Random MIDI note input
Random MIDI note input
Simple trigger
Equipment required
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Digital Audio Workstation (DAW)
Sun Rings
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The media of Sun Rings is not platform or software specific, and this kit therefore only provides sample files to build performance setups using any system in the present and (hopefully) the future. This is intentional, as today’s Digital Audio Workstation (DAW) software may be obsolete in a number of years (as so often happens). In order to run a performance of Sun Rings, any DAW should suffice, and is entirely the personal choice of the audio engineer. However, the chosen DAW should meet these minimal requirements:
• 4 stereo channels (for linear audio)
• 1-4 sampler instruments that can be triggered via incoming MIDI data (channelized)
• Ability to route to separate outputs to a stereo or quadraphonic speaker array
The audio engineer also has the choice of how best to utilize the DAW project/ session files within the flow of live performance. If diligent, the engineer can create single project/sessions for each specific movement that contain all associated linear audio, sampler instruments, and click tracks, starting playback for each movement in order. An alternative would be to create a single project/session that contains all the data used in all movements. If the latter is chosen, please be aware that it will be necessary to manage the routing of audio channels as well as input from MIDI controllers to appropriate instruments as befitting the individual movements.
Amplification
Because Sun Rings is an electro-acoustic piece, it is necessary to amplify the string quartet (and possibly the choir) to blend with the electronic sounds emanating from the speakers. The amount of signal sent through the main speakers is up to the individual performance setting, as room acoustics will also play a big part. However, the goal is to balance the signals of the performers on stage with the electronics for the audience to hear them in a pleasing proportion; the electronic elements should not overpower the acoustic instruments (and vice versa), but should be on equal footing. Ultimately this will be controlled by the audio engineer, mixing the show dynamically as needed for clarity and emotional impact.
Signal processing
Signal processing (reverb, delay, etc.) is not necessary for all linear audio and samples, and mostly has been “baked in” as part of the audio files themselves. However, it is permissible (and sometimes encouraged) to add additional ambiance when the acoustics of the space dictate. The movement “Sun Rings Overture” for example, works well with additional reverb on the triggered samples from each player, blending in with the linear audio. Considering that the string quartet will be amplified, signal processing can be applied to the quartet’s signals to better blend with the electronics in the hall.
Sun Rings Electronic Materials
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In the movement “Earth Whistlers” additional reverb is temporarily requested in order to make Violin 1 sound distant during key moments (as indicated in the score). Just how much and what type of reverb utilized is left to the digression of the performers and audio engineer.
MIDI controllers (4, one for each player)
Initial performances of Sun Rings utilized infrared (IR) MIDI controllers placed on stage for the performers to trigger samples via physical proximity (waving hands). These devices provided a much needed visual gesture that could be observed by the audience to correlate with the fantastical (and disembodied) sounds being produced, and also made a convenient way to trigger the samples for string players unable to place their bows down. A variety of these devices are available from various manufacturers and left up to the individual production to procure. As of writing, the following devices would be suitable:
• Kommander CV / Gate Motion Controller (by Koma Elektronik): https:// www.perfectcircuit.com/koma-elektronik-kommander.html
• LAZER Light-Based CV + MIDI Controller (by Suonobuono): https:// www.perfectcircuit.com/suonobuono-lazer-blue.html
• Altura MkII+ Theremin MIDI Controller / Arpeggiator (by Zeppelin Design Labs): https://zeppelindesignlabs.com/product/altura-mkii-theremin-midicontroller/
• e-ther : version 2 (by MIDI In): https://www.tindie.com/products/shieladixon/ether-version-2/
• MIDI Blaster (by this.is.NOISE): https://thisisnoiseinc.com/pages/midi-blaster
• ProxiMIDI (by Copper &Cedar): https://copperandcedar.com/products/proximidi
If desired, all manners of physical MIDI controllers (ring, footswitch, camera, instrument mounted, etc.) can be creatively utilized, and should be determined by collaboration between the performers and the audio engineer. Some possibilities (as of writing) might be:
• Wave (by Genki): https://genkiinstruments.com/products/wave
• Drum (by MIDIS): https://midis.io/drum/
• MusiKraken (by MusiKraken): https://musikraken.com
In order to work with the Sun Rings material, these devices should at minimum send trigger (note on/off) data, and preferably continuous controller (CC) MIDI data, both of which can easily be mapped to samplers within the DAW.
Click track earpieces
As mentioned earlier, some movements require click tracks to be delivered to the performers on stage so they can synchronize their performance to the electronic
Rings
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music. This, of course, should be discreet and un-observable to the audience, most likely delivered via in-ear pieces (single) worn by the performers as well as the choir director.
Sound Reinforcement
As mentioned previously, Sun Rings can be presented in stereo or quadraphonically, and as such, the appropriate amount of speakers should be utilized. Depending on the size of the performance space, this may entail groups of speakers connected to similar channel outputs to “fill in” spaces. In addition to the sound reinforcement used to amplify the quartet and present the electronic material, on-stage monitoring is required for performers to hear themselves as well as the electronic music portions. While using speaker wedges is perhaps the simplest way to go, in-ear monitoring is also possible, but consideration needs to be made by the audio engineer not to jeopardize the delivery of the click tracks when needed.
fl diagram
Signal