Audio Setup

clic.aif - Click track
Piste1 - Front Left speaker track
Piste2 - Front Right speaker track
Piste3 - Back (Left & Right) track

Loudspeaker setup

Software installation

This piece can be played with the Max patch included.

Alternatively, audio files can be played in sync with any multichannel software such as Ableton Live, ProTools, Cuebase etc.

Initialization routine

System sample rate should be set to 48kHz to match the audio files sample rate.

Patch presentation

Follow the instructions of the patch (1 - turn DSP on, 2 - play file). Adjust output levels if/when needed.

Performance notes

Interpretation of the electronic part

in patcher interpretations notes you can find indications about interpretation of the electronic part.

The original score has a few more indications for the interpretation of the electronic part :

• Section I: Back soundtrack rather loud, balance Front track volume with the orchestra
• page 15, last measure: crescendo for the electronic for 3 measures (2 before section II)
• Section II: electronic a bit louder, high pitched sounds should be perceptible
• page 19, measures 4 & 5: small crescendo-decrescendo
• page 21, first 2 measures:  small crescendo-decrescendo
• page 24, measures 3 & 4: Trb and Trp attacks in the electronic should be at the same volume (or even a bit louder) as the ochestra
• page 27, measure 7 on: electronic should be rather loud to bring out the "spirales"
• Section III: electronic volume should be exactly balanced with percussions and piano
• page 35, measure 2: electronic notes should be balance with English horn
• 2 measures before and beginning of Section IV: hold back a little
• page 38, measure 6: crescendo for the electronic
• page 38, 2 last measures and page 39, measure 1: crescendo for the electronic, support orchestra
• Section V: loud but no strident, back track rather loud
• page 48, measure 1: octava notes should be at the same volume as the Crotales percussions
• page 51, 2 last measures of Section VI: crescendo for the electronic
• page 53, measure 7 & 8: crescendo for the electronic, answer to the orchestra
• Section VIII: movement between front and back should be audible
• page 59, measure 2 and on: dim with the orchestra
• Section X: a bit more, the electronic extends the Trb then gets more autonomous
• page 63, measure 6 and following: electronic should be well perceptible, bring out the ascending spirales
• Section XI: decrescendo, rebalance with the orchestra
• page 66, measures 5 & 6: crescendo-decrescendo for the electronic
• page 66, measure 7: electronic should be exactly at the same dynamic as the piano and glock
• page 67, measures 4 to 6: crescendo-decrescendo for the electronic
• page 68, around measure 5: crescendo-decrescendo for the electronic
• page 70, last measure then page 71, first 3 measures: crescendo-decrescendo, listen to the piano, electronic is the resonance of the piano
• page 72, measures 2 to 4: crescendo-decrescendo for the electronic
• page 73, first measure: louder, of course...
• page 73, measure 4: crescendo for the electronic
• End: follow the conductor to nothing, listen to the bass drum. Electronic and bass drum should blend

Timings

in patcher absolutes timing you can find absolute timing of musicals sections reported by Benjamin Lévy.

Timing indicated along the score are slightly late compared with sound files timing. For example: page 11, 52" is notated when it should be around 49" in the audio files. A list of corrected timings is included in the notes of downloadable material.

p11: 4900
p12: 101300
p14: 201300
p16: 204600
II: 205300
p18: 303300
p21: 401900
p23: 405500
p30: 703000
p33: 802600
p35: 900800
p36: 903700
p37: 1000200
p38: 1001900
p39: 1003700
V: 1005300
p42: 1101200
p43: 1103500
VI: click at 1105400
p46: 1204100
p48: 1303000
p49: 1305500
p50: 1402900
VII: 1404500
p52: 1405800
p53: 1501800
p54: 1503500
p55: 1504900
VIII: 1505800
IX: 1601900
p60: 1605700
X: 1703100
p62: 1705000
XI: 1902400
p67: 1905100
p70: 2003200
p71: 2003300
p73: 2101800