This is a piece for contralto, flute, B-flat clarinet,
bass tuba and live electronics, composed in 1983. Each
performer is amplified and processed. There are four
patches for the electronics, not particularly complex,
although parameter values change, simultaneous effects
are applied and sounds move across six loudspeakers.
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1 2 3 4 5 6 7 8 9 0
IfI Z Current E Reset
C FI Cl Tbn
input levels In rehearsal set
filter i/p levels.
*4=46 wi ch on halaophoos....l before beginning!
Delay output
level adjusted by
MIDI controllers
5,6,7&8
J, |o J ^. |.Luigi Nono
a I T Iphons fit Sound Intermedia & Richard Polfreman
a m nize l
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whereby a number of signal inputs can be routed to
specified outputs). A series of routing messages were
triggered by program buttons (for rehearsal) and by the
space bar stepping to the next program (for performance).
The filter-bank was this time implemented by cascading
bandpass filter objects in MSP (reson-) to achieve the
steep roll-off specified in the score (>60dB per octave).
The halaphon now used Adrien Lefevre's vtboule Max
objects. These allow smooth interpolation of parameter
sets by moving a cursor around a 2D space containing
circles for each parameter set. Our sets represented send
levels to speakers, and a calculation engine was created
to provide adaptable circular motions for sound rotation
(figure 6).
3. ASSESSMENT AND REWORKING TODAY
Today a 'Diario' system could be a mixing desk,
computer with 8 input and 10 output channels and a set
of Max/MSP patches. In fact, hardware elements from
our reworking, such as the Akai patch bay, might be
difficult to obtain today. With 'Ommagio', much of the
work was carried out within a single software package,
as have more recent Nono performances (April 2005).
For 'Con Luigi Dallapiccola' a simple bank of ring
modulators with programmable modulation frequencies
was constructed, while for 'A Pierre. Dell'azzurro
Figure 5. Max main control patch for On
Gy6rgy Kurtig.
While in the first design a GRM Tools
used for the harmonizer effects, in the actual
an external unit was used since this
elsewhere in the concert and reduced the dem
computer system. Also it seemed that thi
might give results closer to the original (figui
Halaphon 2002 Us thisasaspchwith
ru io thr<.gh Fwr MSP, or,Js, MIDI control
sets up the circles
in the VTboule
set channel levels
for each position
does the interpolation
Clubb-elick,>
makes circular orbits
'off direction,-tire3 ) radius x pos y p | I
X] [^] FT I ^550~| ^50 -240o I
atoer c irtlis I
|Tpl,magio a silenzio, inquietum', steep-sided filter banks were
constructed more accurately by cascading biquad- filters
(both high and low cut) to precisely match the original
specifications, delays were constructed as before and
plugin was tap.tools tap.shift- used for harmonizer effects.
performance While occasionally hardware devices are revived and
was needed return to manufacture (e.g. the Theremin), software
lands on the emulators have recently emerged, driven by widespread
s processor use of analogue synthesizers in electronic dance music.
re 5). These systems may provide an immediate aid, with
products such as FM7 (Yamaha DX7 emulator) used to
replace increasingly rare originals. However, these may
have dependences limiting their future viability such as
plugin format, or host program. For publishers, the
non-trivial task of transferring materials from original
format to the emulator remains, and these replace one
proprietary format for another, with no guarantee of
longevity. More desirable in our view, is the production
of a complete system-on-disk for distribution, where
one program provides all the necessary processing in an
integrated manner. Among the requirements for such
programs are that they be:
&LUECT
IntoI.er a Flexible: programs should function with a variety of
audio hardware and operating systems. This is perhaps
WTO: the only way to ensure any longevity in a rapidly.........,,,o,"i,, changing technological environment.
Control Mode -
Audio Input E HO
motitE
Audio Outputs Q Q r Q r h Q,, o1
MSP
n in interpolator window.
rbit controls %t slrcify
n. Edit multi-s liders for
position - here,,e ha'e
g.hanne Is contro" able.
( ttntrdl nn<, - using
or MII control
Figure 6. Halaphon control patch.
Delays were implemented with tapin- and tapoutobjects, with feedback controlled via MIDI. Routing into
the delays used a matrix- object (a mixing patch bay,
Open: enabling other hardware (or software) devices to
be inserted in the audio chain to replace the software
elements provided. This gives operators as many
options as possible, including using original devices or
contemporary external hardware if deemed appropriate.
Authentic: the program should aim to reproduce the
sound of the original system as far as is reasonable.
