Francois Bayle, "Tremblement de Terre Tres Doux"

-- Liner Notes from INA-GRM 9108ba --

Acousmatic projection or Performance, Interactions
1 Using the work-model (prepared on one or more magnetic supports) as a basis, a reinforced image is projected, blown-up to the dimensions of a collective listening space. This public act requires:
.someone to be in charge
.someone to objectify a work that up until now has been developed to the limits of .subjectivity. someone to distribute an activity among a professional team in charge
of the equipment
.someone to satisfy the acoustic requirements
.someone to enable a musical concept to emerge from these criteria.

2 In the final stages of composing in the studio, a mixing/dosing of the elements was obtained on a limited number of channels. With the installation of the equipment and the actual rehearsals the elements are distributed over two, four or eight modulation channels which are in turn distributed over eight, sixteen, twenty, thirty or more projection tracks.

3 The sound-projectors (more or less specialized loudspeakers) are placed according to their character - bass, large, medium, clear, sharp, oversharp - their output, their caliber and their direction - converging, diverging, direct, reflected, indirect...

4 Break-down of the projection space (stage, periphery, ceiling, audience areas):
.a couple of speakers are placed in each "screen" area to provide a phase center. Care should be taken to balance the centers in relation to the different listening areas.
.the phase screens are distributed over at least three levels of depth: close, middle and distant.
.the sound-projectors are arranged by size: very large , medium and very small.
.the stereophonic couples are paired on the control panel in a convenient right-left arrangement, keeping in mind that this will control the acoustic mixing of the phase screens and the projector levels.

5 Break-down of the work:
During the preparation of the sequences for the acoustic and musical performance (identifying and numbering them), establish the duration of the passages that are to be executed freely and locate the fixed positions determined by the overall structure of the work. Using your memory, a timer and the score, work out the exact sequence of the gestures. . .
Once the installation has been checked, an acousmatic composition obviously requires as many partial and general rehearsals as an orchestral work.

-- Liner Notes from INA-GRM G101ba --