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 2

3. Ina context vs Ircam context 3 Recorded sounds & transformations Loudspeakers Concert Mixing session Synthesis & Sound transformations algorithms Live electronic Performance InstrumentsReal Time ScoreFixed media Acousmatic (since 1948) Live electronic (70 ties )

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

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

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 6

7. 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 Preservation issue

8. 8 Hans Tutschkus Distance Liquide

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

10. 10 Ina testbed: Acousmatic terminology

11. 11 Modelisation of Distance Liquide

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 12

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. Original audio & mixing session files mixing software Audio rendering (s) L0L0 Ina testbed: scenario 1 (change in hardware-software) 16

17. Original audio & mixing session files mixing software New mixing software new audio file construction Audio rendering (s) Strategy 1: OMF files export. new mixing session file New rendering(s) Strategy 2: audio tracks files export. New mixing software Rendering new mixing construction New mixing software Rendering (s) Strategy 3: session analysis L0L0 L1L1 Ina testbed: scenario 1 (change in hardware-software) 17

18. Ina testbed: scenario 1 (change in hardware-software) 18 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

19. Ina testbed: scenario 1 (Musticaspar steps) 19 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

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 20

21. 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 Inas repository and Musticaspar –Open the server to other community members most important works

22. Conclusion 22 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 more accessible to future generations

23. 23

24. 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/http://www.utc_tx.lexiktrac.com/ : cyclops, caspar http://www.utc.fr/caspar/cyclops_v1_INA/ http://www.utc.fr/caspar/cyclops_v1_INA/ sur Firefox – mac – contient Distance, Spaces, Sud, Aube, 60 Autre version r é cente Leeds – contient aussi Ingest, Gap manager, etc. sous Firefox http://kia1.leeds.ac.uk:9595/ICSRiMArchivalSystem-v1/http://kia1.leeds.ac.uk:9595/ICSRiMArchivalSystem-v1/ (pas d acc è s de l Ina) 24

25. 25 Demo movie Based onto the MustiCASPAR server

26. 26 Ina testbed Based onto the MustiCASPAR server Made of acousmatic works (since 1948) analog & digital Pure tape music, mixed music (15%), some other interactive works similar to Ircams cases Will use the Ircam Musticaspar server –4 fully collected piece: Hans Tutschkus Teruggi, Risset, Zanési Reduced and rearrange Added recent changes & new info (i.e. commercial CD) –plans for 3-4 more pieces, exploring particular cases or coming from external institutions (Dufourt, Smalley, Amy, Geslin, Racot, Truax) Representation Information tested on CNRS GUI prototype –Acousmatic model and typology –RDF export

27. 27 Demo movie Based onto the MustiCASPAR server

28. Master and related sources concerts Publications (cd, web) Sketches materials Original final work New versions and declensions documentation 28 Ina context What an acousmatic work is made of…

29. Master and related sources concerts Publications (cd, web) Sketches materials Original final work New versions and declensions Composer Producer Musicologist Publisher What an acousmatic work is made of… documentation 29 Ina context and who are the potential users

30. 30 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