IRIN: Micromontage in Graphical Sound Editing and Mixing Tool Carlos Caires CICM - Centre de Recherche Informatique et Creation Musicale Universite de Paris VIII carlos.caires 2, Rue de la Liberte 93526 Saint Denis Cedex 02, France Abstract Micromontage technique allows the composer to work a musical figure point by point, shaping each sound particle with microscopic precision. The software presented in this paper combines graphic and script editing with algorithmic generation and manipulation of sound sequences. It provides several tools to enhance both creation and organic development of the musical material under this compositional paradigm using a user-friendy visual environment 1 Introduction IRIN is a composition tool implemented as a Max/MSP standalone (Zicarelli 1998), designed to enhance several composition operations enclosed in the micromontage paradigm1. It uses a comprehensive user interface containing several editing windows allowing the composer to assemble, view, playback and modify several kinds of sound objects. Generally speaking, micromontage technique consists of the extraction of sound samples from sound files and then rearranging them in time. Each extracted sound sample can be multiplied and transformed through operations like speed variation, filtering, panning and amplitude envelope editing (Roads 2001). These very simple sound processing operations are typically enough to build a wide-ranging sound catalogue. Chosen groups of samples from the pre-composed catalogue are then arranged in time into more complex sound structures on a higher time scale that can subsequently be also transformed and multiplied through several variation operations (Vaggione 1995; Vaggione 1996). This kind of compositional approach calls for a working environment that is able to keep track of all important sound operations. Taking into 'IRIN was presented for the first time as "Mixage" (Caires 2003). Besides introducing several new features, this version now runs under MacOs X. consideration that sound transformation, far from a mere "effect", is an act of composition, a memory of all actions and respective data involved within the process of creating the tiniest sound particle is needed so that a consistent proliferation of the musical material can be achieved. All data concerning sound manipulation is therefore stored and accessed through IRIN's graphic interface. IRIN was designed to offer control over micro-time and macro-time levels of composition, allowing the composer to browse smoothly between them with an analogous outlook towards musical material. 2 Basic IRIN features and use The functioning of IRIN can be summarized as follows: 1. Load up to 16 Sound files of any size depending on the available RAM. 2. From each sound Buffer, select a region and edit it in several ways to obtain a Sample. 3. Place samples on any one of the 4 available tracks, knowing that tracks are polyphonic and sound parameters are a track independent feature. 4. Store edited Samples in a sample library. Every stored Sample (in a track or in the library can be retrieved for later use or further manipulation). 5. Encapsulate sound sequences into a Figure object and submit them to several variation operations. Store Figures in a library. 6. Encapsulate up to 8 Figures into a Meso-structure object and submit it to several variation operations. Store the Meso-structures in a library. 7. Add customizable shapes and colours to every sample. Shapes are used for display in the Timeline window on "shapes view" mode. Proceedings ICMC 2004 0
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