Prelude for Flute and Computer - Richard Dudas

Technical Requirements

Computer Equipment:
• Macintosh Computer (MacBook Pro, Intel-based iMac, etc...)
Note: The CPU clock should be at least 1.5 GHz.

Software Equipment:
• Cycling '74 Max/MSP 4.6.3 or later
Note: non-standard objects are included with the patch distribution.

Audio Equipment:
• Microphone for flute
(a small mic such as the AKG C417 taped to the flute head joint has proved to
work well with the pitch tracker:

http://www.akg.com/site/products/powerslave,id,274,pid,274,nodeid,2,_language,EN.html

although many flautists prefer an overhead condenser mic for more faithful
sound reproduction.)
• Audio Interface for computer (with at least 4 channel output for the quad version)
Optionally, the computer's audio inputs and outputs may be used when
performing the stereo version.
• Mixing Console (analog or digital)
Even a small mixing board should suffice.
See Attached diagram for connection diagram and I/O configuration.

P/A Equipment:
• Speakers - 4 for the quad version, or 2 for the stereo version
See Attached diagram for speaker location and channel numbering.
Speakers should ideally surround the audience, although exact placement
depends on what works well for any given hall.
Note: sound should be well-balanced with live flute (which should be only
slightly amplified).
 Prelude for Flute and Computer
Richard Dudas

Audio Setup Diagrams

Quad Setup Stereo Setup

Flute Mic Flute Mic

In In

Computer with Computer with

Audio Interface Audio Interface
4 Outs 2 Outs
Inputs: Aux: Inputs: Aux:

Outputs
Outputs

MIXER 1 MIXER 1
2 2
3
4

Live flute panned center Live flute panned center

between speakers 1 and 2 between L and R speakers

1 2 1 2

The stereo output option needs to be

selected in the Max/MSP patch, also.
3 4
Prelude for Flute and Computer - Richard Dudas
Instructions for operating the Max/MSP patch
The patch was designed for Max 4.6.3, although it also runs in newer versions (e.g.
Max 5 or later). The patch is designed for use on Mac OSX.

General comments:

Always quit and relaunch Max when switching to the flute prelude from other
patches. It uses some non-standard externals and it is possible that Max may have
loaded older or newer versions of these externals. The ones which work correctly
with the flute prelude are in the flute prelude folder, and these will be loaded before
other objects elsewhere in the Max search path.

There are instructions indicated in the upper right hand side of the patch. To
initialize the patch, click or set everything marked in red-hot pink, as indicated in
the comments in the patch. Then click or set the things marked in green. (Obviously
the two messages connected to the sfplay~ object which are highlighted in pink
and green only apply when rehearsing the patch with a test input source, it is not
necessary to initialize these when performing the piece with a live flautist.)

I've provided a recording of the solo instrumental line, so the patch can be tested
without a performer. To do this select “Sound File (test input)” from the input source
menu in the patch, and open and play the sound file where indicated.

The flute piece is generally "plug-and-play", provided the flute is close-mic'd. The
flute should be only very slightly amplified. It is possible to begin the piece without
direct flute amplification and slowly add amplification until the computer processing
enters. The volume level of the computer outputs should be controlled manually on
the mixing board so they do not dominate the sound of the live flute. Conversely,
the live flute sound should not dominate in the mix with the electronics – both parts
should be given equal importance in the mix. Several points in the piece may need
manual intervention on the mixer – this is easily determined in rehearsal.

The left and right arrow keys on the computer keyboard can be used to advance or
return to any of the numbered cues, should the computer not follow the flautist
correctly. Alternatively, in problematic spots the up and down arrow keys on the
computer keyboard may be used to turn on and off the live flute audio input into the
pitch tracker, and the cues can then be advanced manually (with the right arrow
key).

Comments about specific places in the piece :

The low B at cue [3] is important – it will be recorded and played back later. Make
sure the computer doesn't miss this cue (i.e. trigger it manually if necessary). Also,
note that if in rehearsal you skip the beginning of the piece, the low B triggered by
cue [19] will consequently not play.
The original version of the patch (flutepiece0.59) uses an older and slightly erratic
pitch tracking and score following system. For this version the following comments
apply:

a) Measures 15 and 16 (cues [14]-[16]) have a series of timed chord changes in

the electronic part. This section should be practiced carefully with the
computer for timing.

b) The flautist should be careful at rehearsal [20] - possibly shortening the final
note "C" if it has a tendency to become “caught” by the computer.

c) The transition from rehearsal [24] to rehearsal [25] can also be problematic -
sometimes the computer tends to jump to [25] before it should, depending
on how the flautist plays the notes from [23] to [24].

d) The last 2 measures of the piece have a repeated B, again the chord changes
are timed and this should be rehearsed well with the computer.

The new version of the patch (flutepiece0.63) now uses a new score following
system from IRCAM called “Antescofo”. For this version the following comments
apply:

a) Measures 15 and 16 (cues [14]-[16]) have unmarked cues which follow the
flautist and provide chord changes at the appropriate places – thereby giving
the performer greater freedom in performing this section.

b) The transition from measure 24 to the trill in measure 25 may not be caught
by the computer – this might have to be advanced manually, with the audio
input to the pitch tracker manually turned off from measure 24 until measure
26 (this can be done with the up and down arrow keys on the computer
keyboard).

c) The last 2 measures of the piece have a repeated B, again the chord changes
are timed and this should be rehearsed well with the computer. This is the
only place in the new version where the flautist has to follow the computer –
in all other places the computer should (at least in theory) accurately follow
the performer!

There may be other problematic places depending on microphone placement, the

hall acoustics, etc.... I have found that, generally, the antescofo patch requires a
cleaner audio input signal, whereas the older pitchtracking system is somewhat
more tolerant of noisier input. Regardless, both systems work best and most
accurately with a clear audio input from the flute mic.