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User Guide © UVI.net > DO NOT USE THIS PRODUCT UNTIL YOU HAVE READ THE FOLLOWING LICENSE AGREEMENT. BY USING THIS PRODUCT (OR AUTHORIZING ANY OTHER PERSON TO DO SO) YOU ACCEPT THIS AGREEMENT. Sounds & Software License Agreement NOTE : COPYRIGHT LAWS HAVE RECENTLY BEEN STRENGTHENED. IT IS IN YOUR BEST INTEREST TO READ AND FOLLOW THIS AGREEMENT. 3. Ownership. As between you and UVI, ownership of, and title to, the enclosed digitally recorded sounds (including any copies) will be held by UVI. Copies are provided to you only to enable you to exercise your rights under the license. Only this license is purchased by you. 4. Term. This Agreement is effective from the date you open this package, and will remain in full force until termination. This Agreement will terminate if you break any of the terms or conditions of this Agreement. Upon termination you agree to destroy and return to UVI all copies of this product and accompanying documentation. 5. Restrictions. 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You agree not to modify the enclosed product to circumvent any method or means adopted or implemented by UVI to protect against or iscourage the unlicensed use of copying of the enclosed Product. UVI.net is registered trademarks of Univers Sons, SA TABLE OF CONTENTS Thanks for purchasing ! 4 Installation 5 - Installation on Mac - Installation on PC Introduction� 6 Playing Techniques 8 Preparations 9 Instrument Overview 10 Edit Section 11 Effects Section 12 Settings Section 13 Credits�� 14 Thanks for Purchasing The Premier Experimental Instrument UVI joined forces with the world’s leading acoustic research center, IRCAM, to bring you this very special instrument. This is the official free player to load and use the all the UVI sounds & instruments available today. Stay tuned at www.uvi.net to get the last infos. Recorded at the IRCAM labs in Paris on a Yamaha C7 Grand Piano, IRCAM Prepared Piano boasts over 30 contemporary preparation techniques deeply multi-sampled with the finest equipment available by some of the worlds leading acoustic technicians. > Features in version 2 • New single mode for loading next generation of UVI sounds and instruments • Compatible with the UVI scripted instruments • Powerful Arpeggiator, extremely flexible and complete • Easy to use Search Engine to find quickly what you’re looking for • Universal compatibility Mac / PC • Operate in full 64 bits on Mac / PC • Manage instruments and loops in the same interface • Smart integrated browser • Convenient mixing environment with meters, mute, solo, volume, pan... • Unlimited parts • Up to 64 MIDI channels • Disk streaming per part • Multiple separate outputs • MIDI learn • Expert mode • Cross-platform Multis & all host compatible • Unlimited FX • Complete professional effects arsenal, with easy editing (delay, reverb, phaser, chorus, EQ, filter, drive, distortion, compressor...) • Excellent sounding convolution reverb • Direct sync to host : tempo & transport • State-of-the-art real-time time-stretch algorithm • Real-time sync to the beat: loops are always in time • Latch mode • Sample/Slice Start for loops and phrases • Drag & Drop MIDI & Audio • Import REX files, Apple Loops, AIFF, WAV and more... • Expandable with all UVI sounds and instruments • Direct connection to the UVI.net RSS feed Our powerful UVI sample engine gives you up to two simultaneous preparations per note and advanced parameter editing, providing nearly endless configuration possibilities. Utilize screws, erasers, coins, clothespins, sticks and more–excite the strings with a mallet, plectrum, bow or even an eBow. Quickly explore new sound environments with the built in randomization features and listen as this massive instrument delights your ears with previously unheard timbre and texture combinations. If you’re a musician or sound designer who likes to explore the cutting edge of avant garde, IRCAM Prepared Piano offers an experience like no other. Features include: • Deep multi-sampling of over 30 preparations on the IRCAM Yamaha C7 Grand Piano • Nearly 10,000 samples in total • Multiple mic positions • Round robins • Pristine recordings made with the finest mics, preamps and converters available including DPA, Schoeps and Prism • Advanced algorithms by the leading UVI scripter, Arnaud Sicard of AcousticSamples • UVI SparkVerb™; add lush atmosphere to any configuration instantly We wish you the best musical experience ! The UVI Team. MachFive 3 by MOTU > Universal & Creative Sampler > iLok key needed ! If you want to go deeper on the editing and get access to the best time stretch, granular and other synth engine, note that the incredible MOTU MachFive 3 is the big brother of UVI Workstation. To be able to load sounds from this product, you’ll need an iLok key as well as an iLok.com account. Check out www.motu.com for more infos about MachFive 3 And if you experience any problem our support is here to help : [email protected]. 4 INSTALLING THE UFS FILE The UFS file is the actual sound-bank file, where every data IRCAM Prepared Piano needs is located: samples, presets, scripts, FX, impulse responses, etc. Once it’s installed following the procedure below, you will be able to load the presets within the UVI Workstation 2 or MachFive 3. Stand Alone Audio Units RTAS VST MAS > using UVI Workstation 2 or MOTU MachFive 3 Stand Alone VST RTAS > using UVI Workstation 2 or MOTU MachFive 3 > Minimum System Requirements > Minimum System Requirements - Core duo or faster - 4 GB of RAM - 18 GB of hardisk space - MacIntel processors - 4 GB of RAM - 18 GB of hardisk space - Windows XP SP2 or higher version, Windows Vista - Hard Drive: when using Streaming, faster drive will allow more voices to play - MAC OS X 10.5 or higher - Hard Drive: when using Streaming, faster drive will allow more voices to play - UVI Workstation 2 or MOTU MachFive 3 installed - UVI Workstation 2 or MOTU MachFive 3 installed > How to install the UFS file > How to install the UFS file Copy the UFS file in this location : C:\Program Files\UVISoundBanks. Copy the UFS file in this location : [your startup disk]/Library/Application Support/UVISoundBanks You can also drop a shortcut to this file in this location, provided they have the same name (not Shortcut to My soundpack.ufs for instance) You can also drop an alias of this file in this location, provided they have the same name (not My soundpack.ufs alias for instance) 5 IRCAM PREPARED PIANO INTRODUCTION During the early twentieth century, when the virtuosity and richness of keyboard playing was at its height and technique was stabilizing, a few innovators began to explore the potential of the physical instrument. Henry Cowell, who focused on directly playing the strings, did these initial experiments – this was the string-piano of the 1920s - followed by John Cage, who transformed the piano’s timbre through the use of preparation techniques in the 1940s. The door to experimentation was now wide open and the second half of the twentieth century witnessed the proliferation of a great variety of playing techniques. More than ever before this well known instrument has become an experimental playground; an entire orchestra of timbres is now available with just a piano. Now, with the advent of advanced sampling engines and scripting algorithms, it’s possible to distil these techniques into a remarkably accessible instrument. Ircam Prepared Piano brings together all the contemporary piano preparation techniques in a remarkably intuitive and customizable fashion—but before we delve into this exciting new territory let us first review the steps that brought us here. About IRCAM In 1969 Georges Pompidou initiated the establishment of the Institut de Recherche et Coordination Acoustique/Musique (Institute for music/acoustic research and coordination) entrusting its direction to the composer and conductor Pierre Boulez. BACKGROUND: JOHN CAGE AND PREPARED PIANO The unique property of a prepared piano is the transformation of particular timbres as a result of a modification to the string(s), which makes it possible to play the piano by using the keyboard in the normal way, whilst at the same time producing different sounds, like an acoustic sampler. IRCAM became, and remains today, the only center of its kind across the globe, dedicated to contemporary musical research and production and linked to the Centre Pompidou in Paris, France. It was John Cage who invented this, over 80 years ago now. Research & Development Before Prepared Piano IRCAM provides a unique framework to welcome and coordinate various scientific ways in music approaching, including physics (acoustics, mechanics), signal processing, computer science, cognitive psychology and musicology. Activities are structured according to specific themes, entrusted to specialized teams. Convinced that atonal music needed instruments of its own, in the second half of the thirties John Cage (1912-1992) left behind sounds with tonal harmonic relationships in favor of non-harmonic noises whose interest for the listener did not depend on their relationship with each other. Under the influence of Henry Cowell and his practice as an accompanist for the most innovative dance companies, these ‘noises’ would mainly come from percussion instruments. This led him to compose his first great works, all for percussion ensemble, from 1935 onwards. The personnel working within IRCAM’s Department of Research and Development (90 researchers, engineers, post-graduates, technicians and administration staff) under the direction of Hugues Vinet. The Invention of Prepared Piano It was during his attempts to integrate the piano into these percussion ensembles that Cage invented prepared piano, contrary to what he would relate at a later date. Although in Imaginary Landscape I (1939) the sound of the piano strings was transformed by an assistant in real time, Second Construction in Metal (1940) required a screw and the insertion of a piece of cardboard between the strings. Three months later, Cage composed Bacchanale (1940), the first prepared piano solo work. The instrument was considered to be a kind of percussion orchestra, controlled by a single conductor. The technical innovation mainly consisted in progressing from one to several prepared keys, creating a range of tones used for playing a musical solo. 6 IRCAM PREPARED PIANO INTRODUCTION Repertoire «Preparing the piano is like picking up a shell on the beach» The bulk of Cage’s production for prepared piano dates from the beginning of the 40s and is the result of joint work with choreographers, mainly Merce Cunningham. It came to a complete end in the middle of the 1950s. These works provided him with an opportunity to carry out various experiments which he integrated and took forth as a whole, this time developing them into the concert of Sonatas & Interludes, composed in 1946-48. –Jean-Yves Bossuer, ‘John Cage’, Editions Minerva The preparation aspect did not develop a great deal during their production, although it generally moved towards greater precision and complexity and then, at the very end, it developed in the opposite direction, becoming more open to chance–in parallel to its stylistic development. The prepared piano always seemed to have been a sort of catalyst for Cage’s compositions, and nearly all his ideas are connected to it in one way or another. The piano would, moreover, always remain a solo instrument, even on the few occasions when he associated it with fellow instruments, or in concerto: it would always be an instrument in juxtaposition with others–self-sufficient. Even an indication such as ‘long screw’ may give rise to very different interpretations. Secondly, the distances, which are a very important factor in the change of timbre, are indicated in inches. This becomes problematic as different models of piano each have strings of different lengths. These fixed distances can then result in differing fractions of a string, producing different sounds. In all, Cage is never very precise about the tone that he wished to achieve, which he never described. A rubber-type preparation may therefore produce harmonics according to where it is placed, but Cage does not state where this should be and it is not possible to put it in the same place from one piano to another. This is actually open to interpretation by the pianist. In this respect, prepared piano was a turning point for Cage as a composer, leading to various discoveries that would then result in great ideas which he would then develop and implement: indeterminacy (Music of Changes), letting go of the composer’ ego, the model of natural sounds, graphic scores (Southern Studies) and replacing sound with silence (4’33»). Mechanisms and Type of Preparation Composing for prepared piano is actually quite simple. A preparation table at the beginning of the score indicates, with varying degrees of accuracy, the keys that have been prepared, the materials used (screws, piece of wood, coins, etc.), and the distances at which these materials should be placed. The score is then written normally except that it no longer translates what is heard since it is reduced to a tablature. A piano uses three strings for one note, from its medium bass to treble notes. This makes it possible to place materials between strings 1-2 or 2-3, resulting in three categories of possible sounds: Practical Consequences for the Software The previous remarks have several practical implications. Between the choice of the actual material and its position on the string there is a near infinite number of possible sounds for every indication, even, as we have seen, when the distance is indicated. It is, however, not possible to reproduce this unlimited range of sounds within our sound bank. Nevertheless, the group of timbres is generally unaltered. The choice was therefore made to reproduce these types of variations using another method. The preparations were carried out so as to achieve the greatest number of different possible sounds within the scope of one preparation, using the same material from one note to another. Variations in position or form of material are replaced by the possibility of detuning the preparations, note by note, which corresponds approximately to the range of possibilities on a real piano. It is therefore possible to create complex tones which would be impossible to produce on a real piano. Although the reproduction of certain preparations requires a sort of synthesis by the person preparing the sampler (to use a previous example, a rubber preparation used to produce a harmonic should be simulated using two preparations: rubber + harmonic), opening the door to normally impossible superimpositions of preparations or combinations of preparations and playing techniques that are also usually impossible to execute. In the same way, because of similar problems and solutions, preparations involving the vibration of several adjacent keys, such as a plastic card straddling three or four keys, have been omitted. - Normal (non-prepared stings) - Stage 1 Preparation (two of the three strings are prepared) - Stage 2 Preparation (all three strings are prepared) The una corda pedal shifts the hammers to the right so that they only strike strings 2 and 3 (the first string no longer produce a sound) allowing a partially prepared note (stage 1) to be in effect completely ‘bruitée’ (stage 2). This effect was used quite frequently in Cage’s work and is available in here in software. Materials such as wood, metal, plastic and rubber are used but the resultant tone can be divided into two main directions: enriching the basic sound non-harmonically (a sound like that of a gong), or through various degrees of damping the note (in the extreme produces a bongo or woodblock-like sound). Combined with other notes, both prepared and unprepared, Cage’s prepared piano compositions involve all the intermediate stages between these two extremes, creating very uniform monodies from one work to another – various sorts of klangfarbenmelodies, complex aggregates, polyphonies or melodic accompaniments. Indeterminacy This is quite consistent with the meaning that Cage gave to preparation: a pianist will chose his sound freely, by ear, interpreting the indications given with varying degrees of accuracy in his table. The pianist was the sound’s ‘manufacturer’, whilst Cage was ‘the arranger’. The preliminary preparation tables’ indications are actually somewhat misleading, for two main reasons. Firstly, a wide range of different screw types exist and they do not change the sound in the same way. 7 IRCAM PREPARED PIANO PLAYING TECHNIQUES Note To reflect the fact that certain effects or preparations cannot be performed in all registers the full range of preparation selections is not available for all keys. For example, it is impossible to place a screw on the lowest bass keys since they have only one string. In addition, the extreme tension of the strings on the highest treble keys prevents the production of harmonics. Stick Rebound > This setting features the same technique and resulting timbre as the Wooden Stick setting, but allows the stick to bounce on the string after the initial strike. NORMAL PLAYING TECHNIQUES Plucking or Strumming the Strings with the Fingers Muted Stick Rebound > This setting features the same technique as Stick Rebound, but uses the stick on muted strings (see mutes). Pizz. > The strings are plucked with a plectrum, one string only per note. This results in a sound resembling that of a guitar. It is a widely used effect, for example by Georg Crumb in Makrokosmos, or by Gerard Pesson in Rescousse. Scratch > A fast scraping action by the nail along the string. When used on the bass strings, this causes a burst of harmonics. One can hear this technique, in combination with numerous other piano string effects, in Clepsydre by Horacio Radulescu (for 16 sound icons, or pianos installed vertically and played exclusively on the strings). Sustain and None A normal piano sound. The strings are struck by hammers, triggered by the notes played on the keyboard. Use of the una corda and forte pedals is possible. There is no object in or on the strings modifying the sound. The none preparation setting does not refer to there being no object or preparation modifying the sound of the string, but rather to the lack of sound produced by playing this key - a form of preparation that is impossible without breaking the hammer. Sustained Sounds Bow > Rosin horsehair (a single strand of a violin bow) causing the two or three strings that comprise a single pitch to vibrate. The resulting sound is continuous. Changes in the direction of the bow are always audible and give transient color to the timbre. This effect is sometimes made with fishing line rosin. This setting can be very useful in preventing the sounding of misplayed notes, or for playing Gyorgy Ligeti’s Etude: Touches bloquées (by cheating, a little...) EXPANDED PLAYING TECHNIQUES Ebow > A small device normally used on electric guitars, causing the strings of the piano to vibrate through a magnetic field. This produces a continuous sound with a masked attack, resulting in a delicate and subtle timbre. Other methods of producing effects on the strings. (without using the keyboard or preparation) Striking the Strings Other String Playing Techniques Mallets > The strings are struck with a vibraphone mallet. The resulting sound is similar to a normal key strike, but is slightly softer due differences between the mallet and the normal hammer action. Harmonics > The default harmonic is the octave, activated by finger pressure in the middle of the string. The key is then played normally from the keyboard. It is also possible to transpose this harmonic, thereby simulating any harmonic of the string. A specific digital chord can be played by double clicking on the detune button. This technique is greatly used in solo music, as in Crumb’s work, for example, and may even found in a transcript of Johann Sebastian Bach’s Wooden Stick > The strings are struck directly using wooden sticks. The attack is harder and shorter. The timbre is similar to that of a dulcimer, and can be activated by pressure on the forte pedal. 8 IRCAM PREPARED PIANO PREPARATIONS For the following preparations, the string is normally struck by the hammer. Objects can be placed on the strings, altering the manner in which they sound. The ones placed on the strings in this manner would normally affect several notes in succession on a real piano, which is not mandatory in IRCAM Prepared Piano. Other objects may be inserted between the strings. From the treble keys down to medium bass (F1), there are three strings per note. In this range it is possible to insert one object between strings 1 & 2, and another in the strings 2 & 3. Screw / Bolt [tapered screw / bolt screw] > The screw, or bolt, is the most common preparation. There are screws of varying lengths and thicknesses, as well as screws with large heads, small heads, tapered heads or un-tapered heads. All of these factors affect the sonic characteristics when applied as a preparation to a piano string. Similarly, in IRCAM PREPARED PIANO, you can continue to add several more objects or playing techniques from those available when there are only two strings (F # 0 - E1) or one (as for F0). When the una corda pedal is pressed, only the preparations on strings 2 and 3 are activated, meaning that the pedal is functioning in line with organ techniques. The preparation chosen uses a wide range of materials to create a variety of timbres from one note to another. The sounds are generally rich and resonant; they remain within the gong family, featuring a small vibration when the note is played forte. All of Cage’s works use at least one screw. Prelude for Meditation contains only four notes, surrounded by numerous silences. Each note in the piece is prepared with bolts in addition to the normal sound of the piano, making it possible to hear the preparations clearly. By contrast, in Daughters of the Lonesome Island thirty-nine keys are prepared, almost all of them with screws, resulting in an abundance of timbres which remind the listener of a gamelan ensemble. Objects Placed on the Strings Paper > Sheet of writing paper, rolled up and placed on the strings. Its design and the resulting tone echo the bassoon of some pianofortes. Aluminium > Aluminium foil placed flat on the strings. This gives a fairly long and characteristically metallic vibration. It is similar to preparations that consist of placing metal chains on the strings, as in the first work, Primeval Sounds, in Georg Crumb’s Makrokosmos I. Screw / Bolt + Loose Nut (buzz) > The same preparation described above, but with a loose nut around the screw which bounces when the note is played, creating a «buzz». An example of this preparation can be found in the first movement of John Cage’s Amores, where two notes prepared using screws must also be topped with nuts. This work also serves as a concise overview of the preparations Cage employed using mixed materials. IPhone > An IPhone resting flat on the strings. This gives a slightly metallic damping effect, as well as an occasional bouncing of the iPhone when the strings are struck. This is due to the iPhone not being tethered to the piano strings. Mutes > The string is dampened with a finger, close to the bridge. This category of dampened sounds includes preparations inserted between the strings, using fabric, felt [Felt Temperament Strip], or window seal, as well as variations in angle that influence the overall time effect of the damping. Studies by Michael Levinas exploit this technique. Coins > A coin is inserted between the strings (above 1 and 3 and below 2), greatly enriching the sound. The result resembles a rich yet soft gong, sometimes featuring a very slight vibration. The sound is generally more rounded than when the strings are prepared with screws. The low notes of John Cage’s A Room are a fine example of the use of coins, combined with screws used on other notes. Objects Inserted Between the Strings EFFECTS Rubber > Large pencil erasers are used for this preparation, producing a sound similar to that of a deep bass gong. In the first movement of John Cage’s Amores, three notes are muted with rubber giving a «touches bloquées» effect in contrast to other resonant preparations. Glass Slide > A stemless glass is held on the strings, maintaining constant pressure, and slid lengthwise along them. The glissando is ascending or descending, depending on whether the slide is moving towards or away from the dampers. Half Spring-type Clothespin > The half-spring pegs found here represent preparations made from wood. The hardness of the wood used in the pegs results in the production of gong-like sonorities. To simulate preparations using softer wood (which give a duller, dampened sound), half spring pegs can be combined with muted or rubber preparations. Wooden preparations sometimes touch the soundboard, producing a short, hard attack when the string is struck. It is possible to achieve this effect by ticking «add soundboard.» Bar Hits > A percussive impact on the bars of the piano’s cast-iron plate, above the soundboard. Three playing techniques are used: the hands, soft drumsticks and hard drumsticks. These samples are played on the lowest bass notes beyond A-1. In Caravan, from Jacky Terrasson’s album Mirror, there is an improvisation using the hands inside the piano frame (video: http://www. youtube.com/watch?v=RxTi9lJSHyY). The phrase featured at 2:35 would be completely applicable within the IRCAM Prepared Piano software Extra Length > A plectrum slide along the part of the strings located between the bridge and the tuning pins. Since this is an unusual two-handed polyphonic technique, two potentiometers are used to produce this effect. 9 INSTRUMENT OVERVIEW Sustain from F1 to D#5 Sustain Pick Coins Pick from A-1 to C7 from A-1 to G4 Sustain Mallet Coins mallet from A-1 to D5 THE CONCEPT Sustain Stick from A-1 to C7 IRCAM Prepared Piano features two layers, meaning you can assign up to two preparations per note across the entire 88 note range. Thanks to the included presets you can change an entire layer in one step, or customize it. Coins from A-1 to C7 from A-1 to G4 Coins Stick from A-1 to G4 Sustain Stick rebound from F1 to C#6 Note: IRCAM Prepared Piano is a very high-end instrument, it contains more than 10,000 samples loaded in memory and due to intense and advanced scritpting features it can be quite CPU intensive. Clothes pin Mutes from A-1 to C7 PAGES Mutes Pick from A-1 to C7 Mutes Mallet from A-1 to C7 Mutes Stick from A-1 to C7 Clothes pin Pick from A-1 to G4 Clothes pin mallet from A-1 to G4 Clothes pin Stick from A-1 to G4 from A-1 to C7 Mutes Stick rebound from A-1 to C7 > Edit Edit the two preparation layers, change sound selection, volume and pitch settings Screw from A-1 to C7 Screw Pick > Effects Superb sounding reverberation and delay from A-1 to G4 Harmonics from A-1 to F5 > Settings Fine tune your sound with a wide range of parameters Harmonics Pick from A-1 to F5 Harmonics Mallets PRESETS from A-1 to F5 Harmonics Stick from A-1 to F5 Screw mallet from A-1 to G4 Screw Stick from A-1 to G4 Screw+Nut from A-1 to C7 Screw+Nut Pick from A-1 to G4 Screw+Nut mallet from A-1 to G4 Eraser from A-1 to G4 Screw+Nut Stick from A-1 to G4 Eraser Pick > Preset 1 / Preset 2 Select from a list of pre-defined preparation settings per-layer from A-1 to G4 Eraser mallet from A-1 to G4 > Preset 1+2 Select from a list of pre-defined preparation settings that utilize both layers. You’ll find a number of classic John Cage configurations here. Eraser Stick from A-1 to G4 Bow from A-1 to C7 Ebow from A-1 to C7 Scratch > Randomize The Dice represent our randomization feature, just click on one to create entirely new configurations for each layer individually or for both layers. from A-1 to E1 Glass Slide Up Iphone from A-1 to B6 Iphone Pick This list shows all playing techniques and preparations available in IRCAM Prepared Piano, in a note basis or in Preset 1 or 2. from A-1 to G4 Iphone mallet from A-1 to G4 Iphone Stick from A-1 to G4 10 from E2 to F5 Glass Slide Down from E2 to F5 Aluminum Foil from A-1 to F6 Paper from A-1 to A#5 EDIT PAGE The Edit page is the main IRCAM Prepared Piano screen, this is where you select your playing techniques and preparations. Customise your keyboard Three parameters can be adjusted per preparation: 1. Preparation Type Choose from one of the 45 included preparation styles. 2. Volume Adjust the volume of your preparation. 3. Tune Octave selection Adjust the fine tuning of your preparation. An Edit windows represents one octave. The yellow keys inidicate the selected octave with the note numbers for each note available just above. Using the left or right arrow you can navigate through the octaves. MIDI Select When MIDI Select is on, the played note will be highlited in the user interface. This is very usefull as you edit your own preparations. Layers Two preparations can be assigned to each note, one via each of the two available layers. Note: Use Preset 1 or Preset 2 to change an entire layer in one step. 11 1 2 3 EFFECTS PAGE The two proprietary effects included in IRCAM Prepared Piano are extremely well suited for use with the sound palette at hand. Use them subtely to enrich the sound of your instrument, or push them to explore new sonic landscapes. • DECAY Adjust the RT60 of the reverb • LO DECAY Adjust the level under the cross-over frequency • X-OVER 1 Adjust the crossover frequency of the low decay • HI DECAY Adjust the level beyond the cross-over frequency • X-OVER 2 Adjust the crossover frequency of the high decay ABOUT SPARKVERB™ The reverberation included in IRCAM Prepared Piano is the very last UVI SparkVerb™, a highly advanced synthetic reverb that focuses on sound quality and musicality. By using IRCAM Prepared Piano whithin MachFive 3 you’ll be able to edit all the SparkVerb™ parameters. In UVI Workstation you can just ajust the Dry/Wet weighting. DELAY • ON/OFF Enable/Disable effect • MIX Adjust the Dry/Wet weighting • TIME Adjust the delay time • FEEDBACK Adjust the amount of reinjected signal • CUTOFF Adjust the filter cutoff of the delayed signal • SPREAD Adjust the stereo spread of the delayed signal REVERB • MIX Adjust the Dry/Wet weighting • SIZE Adjust the size of the room 12 SETTINGS PAGE Misc - Dynamics: Controls how the volume of the samples will respond to velocity. - Vel Curve: Controls how the sample splits respond to the velocity. - Una Corda CC: Set which CC value you want to control to the Una Corda pedal. This pedal on a prepared piano strikes only the strings 2 and 3; triggering only the preparation stuck between these strings. - Sostenuto CC: Allows you to decide which CC value you want to assign to the Sostenuto pedal Bar hits Mic 1 / Mic 2 - Adjust the volume of each mic independantly - On/Off enables/disables and loads/unloads each microphone position. Mic 1 is the close position inside the piano. (DPA microphones) Mic 2 is the player position above the head of the player. (Shoeps mics) Global Parameters Mapped from C-1 to G#-1, each of the pianos metal bars were recorded in different ways: you can choose between hitting the metal bars with the hands, with a small stick or with a mallet. - Release Vol: Controls the volume of all of the release samples. - Resonance Vol: Controls the volume of the pedal down resonance effect - Preparation Selection, and Play button to audtion the sound - Tone: Controls the brightness of the overall sound. - Global tune: controls the global tuning of the piano, everything is affected. Envelope - Extra Lenght CC1 and CC2: Adjust the envelope settings of various preparations like the Bow, the Ebow or the Mutes. - Preparation to be Edited Strumming the unused part of the strings in a piano with a plectrum is often done as an effect in prepared pianos. These two knobs simulate that strumming and you can control them with the CC of your choice. - Conventional ADSR Envelope 13 CREDITS & THanks Produced by UVI Project Management / Scripting Arnaud Sicard @ Acousticsamples Documentation / Expertise Yan Maresz Nicolas Mondon John Cage presets Kevin Guilhaumou Software Olivier Tristan Remy Muller Graphic Design Anthony Hak Nathaniel Reeves IRCAM Supervisors Frederic Roussau Hugues Vinet