- Macintosh computer equipped
with an audio interface compatible with Max/MSP (e.g. Motu 828mkII; Motu
896; Digidesign DIGI002; RME sound-card) to run a patch including all
mixing and the effects.
- 4 contact
microphones
- 4 microphones for
the amplification
·
Mixer & stereo diffusion (possibly return
monitors for the musicians)
Note:
A WINDOWS patch version will be available soon. For a request of a specific
patch version, please contact Chester
Promotions.
Original version
- Yamaha DMP7 digital
mixer & Yamaha MLA7 pre-amplifier
- Yamaha SPX90 for
harmonizers - see Appendix
II for parameters
- 4 contact
microphones
- 4 microphones for
the amplification
- Mixer & stereo
diffusion (possibly return monitors for the musicians)
Notes
The sound ideal is a clear and rich 'close sound'. The microphones can be
placed over the shoulders of the violins and viola players, to bother less
the musicians. Generally speaking, the microphones should be placed as close
to the instruments as possible.
The loudspeakers should be placed relatively close to the musicians to
build one sound image.
The general level should be set to be rather loud, nevertheless not painfully
so!
Harmonizers (see Appendix
II for parameters)
Remarks concerning the DMP7 digital mixer:
The DMP7 mixer was chosen here to automate the simultaneous, complex effect
changes.
When the proposition2 is chosen, one should edit the DMP7 programs so, that
also the faders for the instruments (=amplification) are open. Here the same
microphones are used for the effects and the amplification.
1) The instruments are on channels 1-4 as follows:
channel 1 = violin1
channel 2 = violin2
channel 3 = viola
channel 4 = cello
2) The instruments are placed in the stereo space according to
musicians’ normal sitting order that is gradually from left (channel 1) to
right (channel 4).
3) The programs marked in the score 1-36 are on the cartridge memory locations
31-66. DON'T modify these original programs, but copy them rather on another
cartridge, if changes are needed.
4) Change the programs exactly when marked in the score.
5) Often a level of a given effect is to be modified gradually by hand;
in that case the effect in question must be recalled in order to be
controlled by the 'return fader' (in the score e.g.: return =send3). The
fader is moved according to the approximate values given (referring to the
numbers on the DMP7 faders) in the score.
6) The amplitude levels recorded in the programs are to be considered as
references: it can be necessary to adapt them according to the different
types of microphones used or to a given room acoustics.
7) To get a good idea of the processing, please listen a recording of
the piece with the score, after having read these notes.
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