Die Letzten Tage der Menschheit

The electronics for “’Die Letzten Tage der Manschheit” is mostly made up of real time synthesized sounds – Manoury’s typical favorite algorithms: 3F synthesis and PAF synthesis, SYNFUL additive synthesis for instruments simulation. The rest is made of several real time sound treatments, applied on soloist singers, some groups of singers taken from the choir, or the two comedians who play all the acting parts in the opera : Sparkler, Phase Vocoding, , PSOLA (Phase synchronous overlap and add), Bonk analysis with 3F or PAF resynthesis, plus additional other classic effects like frequency shifting, harmonizer, flanger, amplitude modulation, etc. In addition to all this, there are also quite a few soundfiles, stereo or 6ch.
A 6 channels spatialization system, is used to diffuse the electronics, in order to move all these sounds in the virtual electroacoustic space, using alternatively two systems: a circular based (azimuth + distance) traditional panning, or a boids kind of constantly moving panning.
The patch for the electronics was entirely made in PureData, by Miller Puckette, who also conceived all the synthesis and real time effects algorithms.
Apart from Antescofo PD object, which is used to trigger the cues for the electronics, and all the timed processes that Manoury attached to them, and Synful vst plugin (used to synthesize strings sounds), no other external PD object is used.

Miller Puckette has developed, and added to this patch, a program called “Reality Check”, which can determine, in case the patch had to be run on a much newer computer or different operative system in the coming future, whether the calculated output (data and audio) of the patch, stay consistent with the original wanted results. Eventually, Reality Check must be run in every future reprise of the piece, to check the consistency of the output results of the patch.

N.B.
The orchestra, the choir and the solo singers must be amplified, in order to be able to balance correctly the electronics with the acoustic instrumental and vocal sounds.

Stage Setup

The stage is organized with a frontal scene, with the orchestra in the back of the scene, and the singers on the forefront, all of them at the same level, without using the orchestra pit. Actually, the orchestra, plus the choirs and the solo singers, all participate in the action of the opera. A real time video part is also part of the scenography and the dramaturgy.
The electronics is diffused over a 6 channels circular ring of speakers, placed around the audience. The orchestra is only amplified on the first 2 channels of the ring.
Some additional speakers are eventually placed inside the scene, as monitors for the orchestra and the singers.

Audio and Loudspeakers Setup

The PureData patch for the electronics of this piece has 16 inputs and 10 outputs.
Global Sample Rate : 48 Khz.

Input list is the following :
Ch_1____Angelus____Anne Sofie Von Otter
Ch_2____Sop-A______Emily
Ch_3____Sop-B______Tamara
Ch_4____Sop-C______Constanze__________Quatvoc
Ch_5____Sop-D______Simge
Ch_6____Mezzo-A____Johanna
Ch_7____Mezzo-B____Christina
Ch_8____Mezzo-C____Barbara____________Quatvoc
Ch_9____Tenor-A____Dmitry___Hyenae1
Ch_10___Tenor-B____John
Ch_11___Tenor-C____Armando__Hyenae2___Quatvoc
Ch_12___Bass-A_____Miljenko
Ch_13___Bass-B_____Lucas
Ch_14___Bass-C_____Nicolas____________Quatvoc
Ch_15___Acteur_____Sebastian
Ch_16___Actrice____Patrycia

Output list is the following :
1-6 main circular 6 channels ring
8-10 four aux outputs, to be used in case they might be useful.

MIDI Setup

The cues for the electronics are triggered by a keyboard player, placed within the orchestra, in order to be able to see and follow the conductor. This keyboard player plays a dedicated piano part on a small two octave keyboard, whose lowest note must be 60 / C3 (calibration must be performed before each rehearsal session and concert), which is connected to a dedicated computer, running a dedicated PD patch, which sends OSC data to the main (and spare) computer (placed at the FOH), in order to trigger the cues, and immediately get back in return the cue number and title of the Act / Scene currently running.
An iConnect splitter / merger device is needed at the FOH, to receive the data from the keyboard and send it to both the main and spare computers.

The keayboard player within the orchestra also handles an 88 keys master keyboard, in order to trigger some Synful violin pizz sounds + associated gunshot sounds, during a small passage in the opera (PART 1 / Scene 2 / 1.3.2 ). A direct midi cable from the master keyboard to the iConnect must be put in place.

Software Installation

On the Main (and Spare) computer :

• download and install PureData 0.55.2 (or later) “vanilla version”, from Miller Puckette’s PureData dedicated website : https://puredata.info/downloads/pure-data
• download and install IRCAM’s Antescofo for PD - release develop2 - 1.0-613, Compiled on May 12 2025 (or later version).
• download and install SYNFUL free vst plugin v.2.7.1 (or later). https://www.synful.com/download
• download the Synful Orchestra vst presets folder, and place it in the Users/User/Library/Audio/Presets folder (see pic. below)
• download and install the concert patch folder, wherever you want in your HD.

On the dedicated computer for the Keyboard player who triggers the cues for the électronics :

• download and install PureData 0.55.2 (or later) “vanilla version”, from Miller Puckette’s PureData dedicated website : https://puredata.info/downloads/pure-data
• download and install the patch “osc-midi-send.pd” for the OSC based cues triggering, in the computer’s bureau.

Patch Presentation

Initialization Routine

On the Main (and Spare) Computer :

• First of all : in the computer preferences / network, create a new configuration, call it “DLT-MAIN” (or whatever you like) and set it as follow : set the wifi OFF, then set the computer with a manual IP address, with host parameters 192.168.0.5, and router specified as 192.168.0.1. A patchbay with an independent router, which gets all the data streams from every computer connected and that dispatches them, is needed, and acts as the main router.
• Connect this computer to the ethernet patch-bay via an RG45 cable, to allow OSC communication.
• Turn on the BCF 2000 midi mixer, put it in S1 mode (USB only), then connect it to the iConnect USB port 1. Then connect the iConnect usb ports HST1 and HST2 to the Main and Spare computers, via USB. Reach to the BCF preset with the correct channels and control change numbers for the pre-programmed faders of this piece.
• Launch PD, then open the patch “1.dlt.pd”.
• In PD’s FILE pop up menu, select ‘preferences’, then select the ‘audio’ tab. Set Sample Rate to 48Khz, then ‘sample size’ to 64, and ‘delay’ to 5. Select also the correct inputs and outputs settings for the audio card you are using. You don’t need to set the ‘path’ and ‘startup’ paths tab; leave them with their default values.
• On the main patch interface, click on the big red button ‘RESET’. You should see the BCF 2000 faders move to their starting position. The Master volume goes automatically to -98, so raise it up to the desired volume level, by hand, on the BCF.
• On the main patch interface, in the right upper part, look at the button which says ‘Main 0 – Spare 1’. Leave on 0, for the main computer, or click and set 1, for the spare. Remember that, if you click on RESET again, this box will reset too, so you will have to set it again to the correct value.
• Click on one of the small buttons in the bottom part of the main patch, to select the movement you want to start rehearsing (or playing). This will load the correct antescofo score for the act and scene to be performed. In case you might want to stop and start again : don’t RESET, you can just click on the button called “recharger”. And if you want to jump to a later event in that same movement, you can set the desired event n. in the number box besides the “fast forward” button, and click on the the ‘fast forward’ button. The patch will first reload the current score, and then will fast forward to that desired event, launching everything which is contained in the previous events, stopping just before the event you choose to go to.
• Check with the Keayboard player within the orchestra, that the appropriate event numbers corresponding to cue triggering from there are showing correctly. If the Keyboard player forgets a cue, you can trigger it by yourself, clicking on the right arrow; but if he’s triggered in advance, in order to get to one or more cues back, you will have to set the appropriate cue number, in the numberbox close to the fastforward button, and then click on that button. Since it will cut the audio during the fast forward, you might want to do that while in a moment of silence.
• With the Keayboard player within the orchestra in standby, go to PART 1 / Scene 2 / 1.3.2 , advance to event 2, then verify with him that the master keyboard for pizz and gunshot sounds is playing correctly.
• Check with the video guy and the light guy, that their system receive the OSC data that is contained in some antescofo cues (mostly during part 2, but is used also to mark the endings in part 1), at the following IP addresses : Video – host 192.168.0.7 port 53000 ; Light – host 192.168.0.232 port 8000.
• RESET, set again the box ‘MAIN 0 – SPARE 1’, for both computers, click on the first button to the left, which says ‘1.0’, set the master volume to the desired value.
• You are then ready to go.

On Keyboard player computer :

• First of all : in the computer preferences / network, create a new configuration, call it “PPP_Keayboard” (or whatever you like) and set it as follow : set the wifi OFF, then set the computer with a manual IP address, with the host parameters 192.168.0.235, and router specified as 192.168.0.1. A patchbay with an independent router, which gets all the data streams from every computer and that dispatches them, is needed, and acts as the main router.
• Connect this computer to the ethernet patch-bay via an RG45 cable, to allow OSC communication.
• Launch PD, then open the patch “osc-midi-send.pd”. Zoom in if it’s too little to be read.
• Connect the two octave MIDI keyboard, and set the lowest note as 60 (C3).
• Play some notes, and verify that those notes are well received, although not triggering anything, in the main computer for the electronics (in the MIDI-Kbd subpatch). Then set the first part, first movement on the main computer (‘1.0’), follow the score and verify that the correct cues are triggered.
• You are then ready to go.

Performance Guidelines

The Computer Music Designer must accurately follow the score, preparing each score change by hand, by pressing the corresponding button in the bottom of the main patch, at the right moment, in order to allow the keyboard player to trigger correctly the next cues in the score (every new part / movement is loaded, the cues restart from 1).
If the Keyboard player makes a mistake, forgetting one note, the Computer Music Designer can trigger himself that cue, using the right arrow. Otherwise, if it’s needed to go back some cues, triggered in advance by mistake, the only way is to go to the next event yet to be played, using the fast forwarding to a specific cue.
The Computer Music Designer is also responsible for the balance of each electronic sound, and must take notes for the correct volume and dynamic values during the rehearsals, in his personal copy of the score, in order to prepare each dynamic change in advance when performing the piece.

In the 2nd Part of the opera, the 2nd 'Tableau' is only played by the two comedians, who play a small text, during which the orchestra is silent, and the electronics is only made by realtime treatments, which have to be triggered by the Computer Music Designer. The whole passage is a sort of organised improvisation, during which the Computer Music Designer activates or deactivates one or more of the treatments on the comedians voices. The treatments are based on the Sparkler module, which generates spectral chords and sends them to the 3Fs or PAFs. The CMD can trigger a random change of chord, prosody, a rythmic arpeggio based on a fixed metronome, and some more.
All the instructions to learn to play and improvise with these treatment options are contained in the antescofo score for that mouvement.
The text for the dialog is avalable here, aside from the score of the piece, and must be used to follow the comedians and improvise with them.