# Luca Francesconi „Unexpected End of Formula“ # Performance Instructions # Electronic treatment of the Cello ## 1. Generalinformationontheuseoftheelectronics The electronic treatment should not sound like a general effect. It should come out of the cello with the idea to magnify it and give it a monstrous character. A sound engineer needs to follow the score and play a lot with the volume and the spatial distribution of the treatments. ## 2. TechnicalRequirements Scheme of the audio routing: ### Electronic Treatment - The cello sound is treated by a effects processor. The sound is played back over a loudspeaker located next to the instrument, so the electronic sound is localized with the original cello. On certain moments in the piece, the electronic sound can also be played over speakers left and right of the ensemble. „Monstrousizing“ the instrument. Please see below for details. - The effect contains distortion, so there is a high risk of feedback. To avoid this, it is recommended to use a pickup system (e.g. Schertler DYN-C for Cello). Ensemble FX Processor ### Effects Device The piece was written using a Boss GT-8 Guitar Effects Processor The presets are available as Midi-Sysex data files. These presets are compatible with other devices of the GT family. Please check support at Boss for compatibility. You can load the Sysex Files into a GT-8 using any Midi sequencer or a sysex utility program like SysexLibrarian (http://www.snoize.com/SysExLibrarian) The sounds contain standard effects (distortion, chorus, flanger, pitch shift, delay and reverb), so it is possible to do the piece using another suitable effects processor. Please refer to the Effects section for detailed descriptions. ### Amplification Depending on the venue, it might be necessary to amplify the whole ensemble. For amplifying the clean cello, a second microphone is needed. (e.g. DPA miniature microphone) ## 3. Useofthesoundsinthepiece ### Patch 1 – “FORMULA 1”: Starting in bar 183. Localisation with the cello. Fade in gradually. Play with the volume. ### Patch2 – “FORMULA 2 Cadenz” Change in bar 239, where the cello solo starts. Localisation can be wider (e.g. over a L/R speaker system) Play with the volume and the distribution. ### Patch3 – “FORMULA 3” Change in bar 255, when the fast notes start. Localisation with the cello. Play with the volume. ### Patch4 – “FORMULA 4” Change in bar 272, second beat. Localisation with the cello. From bar 283 “no measure” where the long glissando begins: Option for wider localisation. Play with the volume and the distribution. ### Patch5 – “FORMULA 5 END” Change in bar 294, on the rest. Localisation can stay wide, then: gradually fade to localisation with the cello. Note: the effect can be noisy, so it will be necessary that you fade out the effect in the end together with the diminuendo of the cello. ## 4. Descriptionofthesounds On the CD you find examples with a cello sample. Dry – with the individual effects separately – with the complete treatment. PATCH 1 Distortion: Medium Gain EQ: 800 Hz 6.3 kHz High EQ +7 db +2 db +5 db Chorus: light stereo chorus, small depth Reverb: Type Time Predelay Lowcut Highcut Reverb Fx Level Distortion: Heavy Crunch EQ: 3.15 kHz +6 db HighEQ +8 db Plate 2.5 s 10 ms 110 Hz 4 kHz 50% Chorus: light stereo chorus, small depth Reverb: PATCH 2 Type Time Predelay Lowcut Highcut ReverbFx Level Flanger: StereoFlanger Modulate 10s 0ms Flat 1 kHz 25% Vibrato: In the GT-8 patch there is a slight vibrato, this is barely audible, so it can be left out when reconstructing the sounds on a different device. PATCH 3 Distortion: Medium Gain Compressor: The GT-8 patch uses a limiter in the compressor section. It seems to be more like a gain boost. Be careful using those guitar-fx compressors, they cause instant feedback with an acoustic cello even using a pickup. EQ: 3.15 kHz +6 db HighEQ +8 db Chorus: Very light stereo chorus. Not audible within the patch - no audio example Reverb: Type Time Predelay Low-cut Highcut ReverbFx Level Flanger: StereoFlanger Pitch Shift: Modulate 10s 0ms Flat 1 kHz 23% Detune + 6 cent (100 cent = 1 semitone) FX Level 60% Barely audible in the patch - no audio example Distortion: Crunch Low Gain EQ: PATCH 4 800 Hz 6.3 kHz High EQ +7 db +2 db +5 db Chorus: light stereo chorus Reverb: Type Time Predelay Low-cut Highcut Reverb Fix Level Plate 2.5 s 10 ms 110 Hz 4 kHz 14% Delay short stereo slap delay delaytime delaytime Feedback Distortion: left 274 ms right 286 ms 0 PATCH 5 2 Effects used in GT-8 - Lead Amp simulation - Warm Overdrive Chorus: light mono chorus Reverb: Type Time Predelay Low-cut Highcut Reverb Fix Level Plate 2.8 s 0 ms 165 Hz 4 kHz 64%

text	Luca Francesconi „Unexpected End of Formula“ Performance Instructions Electronic treatment of the Cello 1. Generalinformationontheuseoftheelectronics The electronic treatment should not sound like a general effect. It should come out of the cello with the idea to magnify it and give it a monstrous character. A sound engineer needs to follow the score and play a lot with the volume and the spatial distribution of the treatments. 2. TechnicalRequirements Scheme of the audio routing: Electronic Treatment The cello sound is treated by a effects processor. The sound is played back over a loudspeaker located next to the instrument, so the electronic sound is localized with the original cello. On certain moments in the piece, the electronic sound can also be played over speakers left and right of the ensemble. „Monstrousizing“ the instrument. Please see below for details. The effect contains distortion, so there is a high risk of feedback. To avoid this, it is recommended to use a pickup system (e.g. Schertler DYN-C for Cello). Ensemble FX Processor Effects Device The piece was written using a Boss GT-8 Guitar Effects Processor The presets are available as Midi-Sysex data files. These presets are compatible with other devices of the GT family. Please check support at Boss for compatibility. You can load the Sysex Files into a GT-8 using any Midi sequencer or a sysex utility program like SysexLibrarian (http://www.snoize.com/SysExLibrarian) The sounds contain standard effects (distortion, chorus, flanger, pitch shift, delay and reverb), so it is possible to do the piece using another suitable effects processor. Please refer to the Effects section for detailed descriptions. Amplification Depending on the venue, it might be necessary to amplify the whole ensemble. For amplifying the clean cello, a second microphone is needed. (e.g. DPA miniature microphone) 3. Useofthesoundsinthepiece Patch 1 – “FORMULA 1”: Starting in bar 183. Localisation with the cello. Fade in gradually. Play with the volume. Patch2 – “FORMULA 2 Cadenz” Change in bar 239, where the cello solo starts. Localisation can be wider (e.g. over a L/R speaker system) Play with the volume and the distribution. Patch3 – “FORMULA 3” Change in bar 255, when the fast notes start. Localisation with the cello. Play with the volume. Patch4 – “FORMULA 4” Change in bar 272, second beat. Localisation with the cello. From bar 283 “no measure” where the long glissando begins: Option for wider localisation. Play with the volume and the distribution. Patch5 – “FORMULA 5 END” Change in bar 294, on the rest. Localisation can stay wide, then: gradually fade to localisation with the cello. Note: the effect can be noisy, so it will be necessary that you fade out the effect in the end together with the diminuendo of the cello. 4. Descriptionofthesounds On the CD you find examples with a cello sample. Dry – with the individual effects separately – with the complete treatment. PATCH 1 Distortion: Medium Gain EQ: 800 Hz 6.3 kHz High EQ +7 db +2 db +5 db Chorus: light stereo chorus, small depth Reverb: Type Time Predelay Lowcut Highcut Reverb Fx Level Distortion: Heavy Crunch EQ: 3.15 kHz +6 db HighEQ +8 db Plate 2.5 s 10 ms 110 Hz 4 kHz 50% Chorus: light stereo chorus, small depth Reverb: PATCH 2 Type Time Predelay Lowcut Highcut ReverbFx Level Flanger: StereoFlanger Modulate 10s 0ms Flat 1 kHz 25% Vibrato: In the GT-8 patch there is a slight vibrato, this is barely audible, so it can be left out when reconstructing the sounds on a different device. PATCH 3 Distortion: Medium Gain Compressor: The GT-8 patch uses a limiter in the compressor section. It seems to be more like a gain boost. Be careful using those guitar-fx compressors, they cause instant feedback with an acoustic cello even using a pickup. EQ: 3.15 kHz +6 db HighEQ +8 db Chorus: Very light stereo chorus. Not audible within the patch - no audio example Reverb: Type Time Predelay Low-cut Highcut ReverbFx Level Flanger: StereoFlanger Pitch Shift: Modulate 10s 0ms Flat 1 kHz 23% Detune + 6 cent (100 cent = 1 semitone) FX Level 60% Barely audible in the patch - no audio example Distortion: Crunch Low Gain EQ: PATCH 4 800 Hz 6.3 kHz High EQ +7 db +2 db +5 db Chorus: light stereo chorus Reverb: Type Time Predelay Low-cut Highcut Reverb Fix Level Plate 2.5 s 10 ms 110 Hz 4 kHz 14% Delay short stereo slap delay delaytime delaytime Feedback Distortion: left 274 ms right 286 ms 0 PATCH 5 2 Effects used in GT-8 - Lead Amp simulation - Warm Overdrive Chorus: light mono chorus Reverb: Type Time Predelay Low-cut Highcut Reverb Fix Level Plate 2.8 s 0 ms 165 Hz 4 kHz 64%
lang	fr
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