Output details

Waiting for Waves at Newgale

This string quartet with live electronics was funded by the Rodewald Concert Society in Liverpool and a grant from Arts Council England. The piece is an experiment in the use of granular synthesis freeze effects in a live context. Freezing is used for sustain, to allow textural transformation, and transposition of the live string quartet’s sound – both individually and in various combinations. The processing is done using a bespoke Max/Msp patch that is both MIDI controlled by the sound projectionist, and automatically controlled using audio signal information produced by following and measuring the amplitude of the live quartet. Within the patch relatively long grain lengths are used within a 32-voice polyphonic granulator. Experiments were carried out to determine the ideal settings for parameters such as the amounts of random variation in start time and detuning, with the aim of creating a balance between an obvious and realistic live sampling and freezing of string notes or chords, whilst at the same time producing enough alteration in the captured string sound to enhance the overall texture of the piece. The granulation patch also allows the smooth, unobtrusive glissandos, which are heard in several places. Envelope following is also used to initiate the capture of the granulated sound and determine its volume, using accents in the string writing as triggers for the process. The sound projectionist set thresholds for the patch using the MIDI controller and also cues other setting changes by following the score, avoiding the need for a click track and thus allowing the performers a greater freedom of expression.The piece was premiered in December 2012 at the Cornerstone Festival in Liverpool.

A score, max patches and audio recording are provided in the Portfolio DVD.