Art of Metal II

This piece uses Max software as a real-time audio effect processor for spatialization and sound transformation. During the performance, the clarinetist on stage triggers cues following the score using a MIDI pedal. In tech booth, a MIDI controller (Asparion D400 in this version, but can be adapted) controls the levels of the effects.

Audio setup

• 1 live audio input (mixdown of the clarinet mics) goes to main DSP patch.

• Up to 13 audio outputs for speakers (original version) + 1 sfiles monitor + 1 optionnal click track Output mixdown is possible in the main patch for configurations with less speakers.

• In this version we played with only 8 output channels, but other setups are possibles with a little configuration (see System calibration section).

Mic setup

Several microphones are requested to capture the sound of the clarinet.

For the top microphone, pavillion, we used an extra dynamic microphone (beyer M88) processed in a way to get a kick-like effect on the low C (Bb) slaps, using gate, resonant lowpass (40Hz) and compressor. The sensation of these slaps must be physical, almost like a kick bass drum.

Loudspeaker setup

Up to 13 speakers : L-C-R SideR-SurR-SurC-SurL-SideL-DownL-DownR-DownSurR-DownSurL-Top. 18 inches subs are required.

You can mix down this original setup to adapt to your configuration.

This piece uses two main patches : one that handles the sound transformation effects (DSP patch) and one that handles spatialization effects (SPAT patch).

MAIN DSP PATCH Inputs/Outputs

• 1 mic input
• 15 outputs + sends to spat
  - 1-13 => speakers 1 to 13 /Scalable
  - L-C-R SideR-SurR-SurC-SurL-SideL-DownL-DownR-DownSurR-DownSurL-Top / Scalable
  - 14 => Sf Monitor (unused)
  - 15 => optionnal click track

SPAT PATCH Inputs/Outputs

• 8 receive inputs from DSP patch
• 13 outputs send back to Main DSP :
  
  - 1-13 => speakers 1 to 13
  - L-C-R SideR-SurR-SurC-SurL-SideL-DownL-DownR-DownSurR-DownSurL-Top

MIDI setup

The clarinetist triggers the cues of the score/patch with a foot pedal sent in MIDI to the computer. When an analog footswitch or sustain pedal is used (as it was the case in this version) it needs to be converted to MIDI with a MIDI Solutions Footswitch Controller. If the console and computers are far away from the stage, a MIDI Booster is used to reinforce the MIDI transmission. It is used to duplicate the MIDI info for main and spare computers. You may control the levels of the Input, the Main DSP output, the Spatialization Output and the Master by a fader controller.

Software Installation

You need one instance of Max 9 software.

1. Open Max 9
2. Go to Preferences > Mixer and enable 'Enable Mixer in Parallel Processing'
3. Use these audio settings (Options > Audio Status...) :

• I/O Vector Size: 512
• Signal Vector Size: 256
• Sampling Rate: 48000Hz
• Scheduler in Overdrive: yes
• in Audio Interrupt: no

This version is composed of two Max Projects :

• AoMII_DSPMain_Max9.maxproj
• AoMII_SPAT_Max9.maxproj

You can first open AoMII_DSPMain_Max9.maxproj and then open AoMII_SPAT_Max9.maxproj.

Patch presentation

DSP main patch interface

This patch handles the sound fx, the soundfiles, the score & transport. The input levels, fx levels and master out are shown here. It is the main audio input/output. It sends and receives audio with the spat patch.
There you can access the [p MIXDOWN_DAC-OUT] patcher to adapt your speaker setup.

There you can MIDI map the Input, DSP Main and Master faders. By default, they will be mapped respectively to MIDI CC 1, 6 and 8 if you use an Asparion D400. If you are using any other MIDI controller, you can use Max MIDI mapping feature or your own coding method to adapt to your setup.

SPAT (spatialization) main patch interface

This handles all the trajectories. Be sure that they are correctly loaded (sources should visually move with concerned events).
There you can MIDI map the SPAT output fader. It is mapped by default to MIDI CC 7 if you use Asparion D400.

System calibration and tests

The input level should be set rather high for the effects to work properly.

Two soundfiles can be used as a simulation to quickly test the patch without the clarinetist. You can download them separately in the download section (Simulation & Audio test files). CLCB-sectA_05-diff.aif is a recording of the first 28 bars of the piece. CLCB-sectB-37_49-diff.aif is a recording of the bars 37 to 49. CLCB+PED-filage-albi.aif.wav is a full simulation of the piece (see instructions below to run full simulation).

You may need to adapt the mixdown for a particular setup different from the original 13 points layout. For this, have a look at the MIXDOWN_DAC_OUT subpatch in the dsp_main. Adapt the spat5.pan, spat5.meter to your number of outputs and configure correctly the viewer and the panning law. No other adjustment should be necessary for the spatialization.

Initialization routine

When launching the two projects, you can check for errors in the Max window. There shouldn't be any.

Once you have loaded both projects:

1. Start the audio with the red LED Dac on/off. You can check that the CPU pourcentage near this LED is changing.
2. Then init-all with the button of the Main.
3. Check for errors , if you get an error from ambicontrol, try to re-do 'init-all'
4. Pass one or two cues with your right arrow key (->)
5. Then re init-all with the button of the Main
6. Don't forget to check the input faders of both Max patches.
7. For the pedal of the performer to actually trigger the cues, the mode menu should be set to use instead of test

Simulation

To run a full simulation, open "CLCB+PED-filage-albi.aif.wav" file, put pedal in "use" mode, activate simulation cues by toggling the yellow toggle object, and run !

Performance notes

There are known errors in max at event 14 (reverb-global-gain-out: bad number) and 15 (freeze-gain-out1: bad number). You can safely ignore these.

In general, Yann Robin likes when the sound coming from the computer is loud in the room! Adjust the volume consequently!

• The first sound of the electronics, triggered at the first note of the performer should be really impressive in the room, like a scream. This effect is mosly given by the Spat patches out
• From cue 11, the electronics is much quiter then grow again progressively. Keep this as a rather long crescendo in the electronics, don't push up the volume directly.
• At the end, the last section of slaps (pedal 44 to 45), the electronics have to be quieter and distant.