Commissioned by Societe Generale and the Zellig Ensemble for a Project with Brown Universtiy, Indiana University and Berkeley Cal Performances. Berkeley premiere is scheduled for Nov. 7, 2010 in Hertz Hall.

Auditory Fiction 1 is scored for Flute/piccolo, Clarinet/Bass Clarinet, Piano, Cello and fixed electronics. The piece features four musicians playing with the aid of in-ear clicktracks created with the use of CNMAT/John MacCallum's TimeWarp tool. Jeff Lubow is assisting the team with production of the Max patches related to fixed electronics -- also created with the use of TimeWarp and CNMAT/John MacCallum's RBFI object.

Here is the working scenario:

The piece will be exactly 12 minutes in duration.

• CONSTRUCT TIME MAPS WITH TIMEWARP

Campion will produce four time maps from the TimeWarp tool and these will remain (hopefully) unchanged for the remainder of the project. The 4 independent maps will be written to sound files and imported into a Digital Performer 6 file (with some support from Jay Cloidt). Each voice will include at least 6 sound files -- master beat and then duple, triple, quadruple, sextuple, octet subdivisions of the master beat. In addition, we will have some kind of "ruler" soundfiles that coordinate the generic and difficult beat structures with the actual time map details ( i.e. tempo starts, moves, stops etc.. will be identifiable).

• WRITE RAW CLICKTRACK SOUND FILES

Within Max, the 4-voice Auditory Fiction TIMEWARP Map will perform/play a carefully selected set of samples, producing the raw click-track soundfiles. This is delicate work and we should attempt to get as close to final gain structures and timbres on the beats and sub-divisions as possible. sub-division sound files should not contain master beat -- only the sub-divisions of the beat. This process results in production of a minimum of 32 tracks of mono audio -- eventually used to create the final clicktracks for the musicians, but some of which are first used to drive the production of the fixed electronic parts. The special "ruler" sound files should be written with sound marks that make it easy to look at the amplitude representation after having navigated to a particular timepoint and then locate exactly an anticipated event with 100% security.

• CREATE ELECTRONICS WITH ACOUSTIC SIMULATION USING DIGITAL PERFORMER

4 master beat sound files, all sub-division files and the ruler sound files are imported into Digital Performer 6 (at least 32 tracks!). The master beat soundfiles will be routed back into Max to replace live TimeWarp. The audio from the master beat sound files will be routed back into Max, replacing the live TimeWarp tool and used to generate events for the electronics.

The electronics will use CNMAT/MacCallum RBFI adapted in a way to manage selection and playback of samples with carefully sculpted transitions. We are also exploring using the RBFI to manage transitions and weights for a sub-division generator -- although this is just an idea at the moment.

Using RBFI we will score: 1) sample selection, 2) sub-division additions, 3) gain of sample output, 4) placement of the sound in the quadraphonic field (which needs to be adaptable to stereo)

In DP6, I have a Kontakt sampler with my four acoustic instruments modeled in sample libraries. I will use the master beat sound files and the sub-division soundfiles as guides to construct the instrumental parts with MIDI.

The goal is to have a full feature automation of the entire work with DP6 driving both Kontakt ensemble (MIDI) and Max electronics.

Once the electronic part is complete or mostly-complete -- bounce it to four mono sound files and import into DP6.

• FINISH CLICK-TRACK PRODUCTION
After the electronics and instrumental parts are finished, I will hand craft click-tracks by gain sculpting on the various master beats and sub-division sound-files to create the most effective clicktracks for the live musicians. This is super tricky as a master beat that is too loud in the ear compared to sub-divisions will mess everything up. Note that each musician in live performance will have an independent headphone mixer. The musicians can control overall gain, but will not be able to control the individual gains on sub-divisions etc. This has proved very difficult problem in past as the musicians get lost and can't hear properly their clicktracks in relation to the level of the ensemble.

• CREATE MAX-BASED PLAYBACK PATCH
The Max-based playback patch will have 8 channels of audio -- 4 musician clicktracks and 4 electronic tracks. In the end, everything is soundfile playback only -- no other max processing involved. Elecronic tracks should have option of stereo output as well as quad output.