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Ina Artistic Testbed

Ina Artistic Testbed. Yann Geslin, Ina-GRM. Ina context. Ina : musical production since the fifties 1600 works created since 1948 Music is mainly based on the Acousmatic paradigm: The music is totally realized by the composer (with the exception of mix music)

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Ina Artistic Testbed

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  1. Ina Artistic Testbed Yann Geslin, Ina-GRM

  2. Ina context • Ina : musical production since the fifties • 1600 works created since 1948 • Music is mainly based on the Acousmatic paradigm: • The music is totally realized by the composer (with the exception of mix music) • The music is usually performed on a loudspeakers orchestra • Acousmatic music can be devoted to other / future media like radio, CD, video shows, etc. • With the time, problems arise, i.e. the insufficient audio quality of old pieces. • New rendering are desirable -> sources need to be preserved

  3. Ina context vs Ircam context Acousmatic (since 1948) Live electronic (70ties) Recorded sounds & transformations Synthesis & Sound transformations algorithms Mixing session Real Time Instruments Fixed media Score LiveelectronicPerformance LoudspeakersConcert 3

  4. Ina context Sketches materials Master and related sources Composer Original final work New versions Musicologist and declensions documentation Producer Publications(cd, web) concerts Publisher What is usually archived and who are the potential users 4

  5. Ina context Sketches materials Master and related sources Composer Original final work New versions Musicologist NewTechnologies and declensions documentation performing conditions Producer Publications(cd, web) concerts Publisher What we also have to take into account 5

  6. Preservation issue • GOAL of preservation in this context: • To reperform the Work: • Preserving the final audio files (as usual) • Documenting the performance conditions (nowadays implicit) • To make possible adaptations / revisions of the works: • Preserving the mixing session(s), not only the final audio result • All related audio and session files • The Core mixing software (context, etc.) • Documentation of the creative process, intentions, etc. • Managing & preserving the rights

  7. Preservation issue Ina testbed: data sets & types • Three levels of data sets: • Final works and declensions (i.e. Multitrack, stereo and CD rendering) • Final mixing session(s) and all related files (audio, treatments) • Sketches, intermediate steps (if provide by the composer) + all related documentation (programs, pictures, patches, etc.) • Data types: • Audio files (standard) and mixing session files (proprietary type) • Sound transformations tools, real-time processes • Biography, pictures, interviews, movies, other documentations • Production / Performances conditions 7

  8. Hans Tutschku’s Distance Liquide 8

  9. Ina testbed: Distance Liquide files About 1000 Files 9

  10. Ina testbed: Acousmatic terminology 10

  11. Modelisation of Distance Liquide 11

  12. Rights management • Provenance tracking (through Cyclops new version) • Attribution of right properties: • Composer, performer, commissioner • Test protocole: • Change in related rights attribution • Change in rights duration in Europe • 50 to 70 years • No synchronization • See Metaware demo

  13. Provenance 13

  14. Ina testbed: some preservation key aspects • Preservation of the final work and declension (see d4102 p. 125) -> including changes in rights attribution -> 2 selected cases: -> new duration of rights attribution -> new definition of performers rights • Preservation of the final mixing session -> Scenario 1: changes in hardware-software environment -> Selected case: the core mixing software is not any more available -> Strategy 1: migrating files to another available mixing software • Preservation of the performances condition -> Scenario 2: changes in environment -> Selected case: the loud speaker orchestra is not any more available -> Strategy 2: emulating the concert feeling through virtual spatialisation (ambisonic) 14

  15. Ina testbed: one key scenario • Subtestbed 2 : preservation of the final mixing session (see d4102 p. 125) • Strategy 1: migrating files to another mixing software • Exporting data on OMF intermediate files • Running a new mixing software compatible with OMF features • Comparing to original work - evaluating differences • If correct then documenting & creating new Repinfo, etc. 15

  16. Ina testbed: scenario 1(change in hardware-software) L0 Original audio & mixing session files mixing software Audiorendering (s) 16

  17. Ina testbed: scenario 1(change in hardware-software) L0 Original audio & mixing session files mixing software Audiorendering (s) L1 new mixing session file New mixing software Newrendering(s) Strategy 1:OMF filesexport. Strategy 2:audio tracksfiles export. new audio fileconstruction New mixing software Rendering new mixingconstruction New mixing software Strategy 3:session analysis Rendering(s) 17

  18. Ina testbed: scenario 1(change in hardware-software) • This is the human solution: • Exporting data on OMF intermediate files • Running a new mixing software compatible with OMF features • Comparing to original work - evaluating differences • If correct then documenting & creating new Repinfo, etc. • Tested on Daniel Teruggi “Spaces of Mind” 18

  19. Ina testbed: scenario 1(Musticaspar steps) Step0: Having ingested a WORK and components Step1:Notification of loss of availability of the core mixing environment (i.e. Digital Performer v5) Step2: Human solution: files migration Step3: Evaluation of the work properties Step4: Ingest of the new version of the data set 19

  20. Achievements • Setting the MustiCaspar clone server • Methodology for extraction of Representation Information • Acousmatic terminology (CIDOC-CRM based) • Scenario definition and implementation • Documenting the performance conditions • 5 fully collected piece: Tutschku, Teruggi, Risset, Zanési, Adkins

  21. Next developments • Short and middle term: • New data set: • Trevor Wishard: one selected piece (Michael Gatt) • Hugues Dufourt: Saturne for orchestra & synthesizers (Yann Geslin) • Collecting 3-4 more pieces, exploring particular cases or coming from external institutions (Smalley, Amy, Geslin, Racot, Truax) • Best practice guideline • For all acousmatic production studios and archive holders (soon) • External secured access to our Musticaspar clone server • For demo • For future hosting • Long term: • One research project (funded by National Research Agency) • GAMELAN - with Ircam and UTC (CASPAR Partners), and EMI Music • Bridge beetwen the Acousmaline Ina’s repository and Musticaspar • Open the server to other community members’ most important works

  22. Conclusion • Preserving the sources (mixing session) permit us to: • - migrate the mixing session if necessary • produce new rendering • offer sources access to musicologists • Thus allowing acousmatic works to be moreaccessibleto future generations 22

  23. Cyclops demo Serveur CYCLOPS (Utc) sur Firefox - mac Nouvelle version (avec Ina et Ircam) Contient (si edit) la visualisation de Provenance & context http://www.utc_tx.lexiktrac.com/ : cyclops, caspar http://www.utc.fr/caspar/cyclops_v1_INA/sur Firefox– mac – contient Distance, Spaces, Sud, Aube, 60’ Autre version récente Leeds– contient aussi Ingest, Gap manager, etc. sous Firefox http://kia1.leeds.ac.uk:9595/ICSRiMArchivalSystem-v1/(pas d’accès de l’Ina) 24

  24. Summary • Artistic production context at Ina • Acousmatic production since the Fifties • What is acousmatic music made of ? • Preservation goals • The preservation issue • Representation Information • Key points & scenarii • Rights management • Work done and future work • MustiCASPAR clone server • Future work

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