Ina Artistic Testbed
Yann Geslin, Ina-GRM
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• 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
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Recorded sounds& transformations
LoudspeakersConcert
Mixing session
Synthesis & Soundtransformations algorithms
Liveelectronic
Performance
InstrumentsReal Time
ScoreFixed media
Acousmatic (since 1948) Live electronic (70ties)
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Master and related sources
concertsPublications
(cd, web)
Sketches materials
documentation
Original final workNew versions
and declensions
What is usually archived
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Ina context
Composer
Producer
Musicologist
Publisher
and who are the potential users
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concertsPublications
(cd, web)
Sketches materials
documentation
Original final workNew versions
and declensions
What we also have to take into account
Master and related sources
performing
conditions
NewTechnologi
es
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Ina context
Composer
Producer
Musicologist
Publisher
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• 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
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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
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Preservation issue
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Hans Tutschku’s Distance Liquide
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Ina testbed: Distance Liquide files
About 1000 Files
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Ina testbed: Acousmatic terminology
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Modelisation of Distance Liquide
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• 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
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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)
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• 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.
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Original audio & mixing
session files
mixing software
Audiorendering (s)
L0
Ina testbed: scenario 1(change in hardware-software)
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Original audio & mixing
session files
mixing software
New mixing software
new audio fileconstruction
Audiorendering (s)
Strategy 1:OMF files
export.
new mixing session file
Newrendering(s)
Strategy 2:audio tracks
files export.
New mixing software
Rendering
new mixingconstruction
New mixing software
Rendering(s)Strategy 3:session analysis
L0
L1
Ina testbed: scenario 1(change in hardware-software)
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Ina testbed: scenario 1(change in hardware-software)
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• 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”
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Ina testbed: scenario 1(Musticaspar steps)
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STEPS
Collect DATA for the WORK
For each COMPONENT of the WORK {
Search the REGISTRY for existing CPID using features
Chose best compliant existing RepInfo CPID
If no one CPID is found {
Register / Log into RepInfo toolbox portal
Use Analysis tools to produce RepInfo for the COMPONENT
}
Else {
Retain and use CPID
}
Analyze DATA object and produce AP and PDI objects
Construct AIP
Store AIP
Notify the PRESERVATION ORCHESTRATION MANAGER (POM) for meta-data added
Store DATA into DATA STORE
}
Analyze WORK and produce AP and PDI objects
Construct AIP of the WORK
Store AIP of the WORK
Notify the PRESERVATION ORCHESTRATION MANAGER (POM) for meta-data added
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
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• 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
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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
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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
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Cyclops demo
Serveur CYCLOPS (Utc) sur Firefox - macNouvelle 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)
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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