Soundbank Manual

Software Version 1.0

EN 160307
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2
Table of Contents

Introduction...............................................................................................................................................4

User Interface

Edit Page..............................................................................................................................................6

Effects Page.........................................................................................................................................7

Settings Page......................................................................................................................................8

IRCAM Prepared Piano Playing Techniques..................................................................................9

Preset and Preparations List...............................................................................................................13

Links.............................................................................................................................................................16

Credits and Thanks.................................................................................................................................17

3
Introduction

IRCAM Prepared Piano - Limitless Sound Potential

The ultimate virtual prepared piano experience, With more than 12,000 samples and 45
brought to you by UVI and the renowned IRCAM preparation techniques, IRCAM Prepared Piano
acoustic research center in Paris. gives you complete control over how the
We brought together the world’s finest engineers preparations are used and combined.
and equipment to comprehensively multi-sample
45 preparations at IRCAM Labs on a Yamaha C7 Explore the timbre variety of over 40 different
Grand Piano. preparation styles. Utilize screws, erasers, coins,
clothespins, sticks and more. Excite the strings with
The result is the most flexible and exquisite a mallet, plectrum, bow or even an EBow. Mix and
sounding prepared piano instrument on the tune your sound by layering up to two different
market. Freely customize your instrument with preparations per note with individual level and
up to two preparations per note, mix multiple mic pitch controls.
positions and quickly explore new sonic landscapes
with the randomizer. Try the included preparations
or make your own in minutes! Minimum System Requirements
Truly the most advanced, flexible, and • UVI Workstation 2.6+ or Falcon 1.0+
comprehensive prepared piano instrument ever • 4.5GB of disk space
made, IRCAM Prepared Piano leverages the power For more information on the installation process, please refer to
of the UVI Engine in ways never before seen. the document: Soundbank Installation Guide

4
About IRCAM & John Cage

IRCAM Centre Pompidou John Cage (1912-1992)

http://www.ircam.fr/ http://johncage.org/
In 1969 Georges Pompidou initiated the establishment Over 80 years ago, John Cage modified pianos to
of the Institut de Recherche et Coordination Acoustique/ invent what we call today, prepared pianos. The unique
Musique (Institute for music/acoustic research and property of a prepared piano is its transformation of
coordination) entrusting its direction to the composer particular timbres through modifications to the string(s),
and conductor Pierre Boulez. making it possible to play the piano by using the
keyboard in the normal way, whilst at the same time
IRCAM, linked to the Centre Pompidou in Paris, France, producing different sounds, like an acoustic sampler.
became, and remains today, the only center of its kind
across the globe, dedicated to contemporary musical It was during John Cage’s attempts to integrate the
research and production. piano into percussion ensembles that Cage invented
the prepared piano. Although in Imaginary Landscape I
IRCAM provides a unique framework to welcome and (1939) the sound of the piano strings was transformed by
coordinate various scientific approaches in music, an assistant in real time, Second Construction in Metal
including physics (acoustics, mechanics), signal (1940) required a screw and the insertion of a piece of
processing, computer science, cognitive psychology, and cardboard between the strings. Three months later, Cage
musicology. Activities are structured according to specific composed Bacchanale (1940), the first prepared piano
themes, entrusted to specialized teams. solo work. The instrument was considered to be a kind of
percussion orchestra, controlled by a single conductor.
The personnel working within IRCAM’s Department of The technical innovation mainly consisted in progressing
Research and Development includes 90 researchers, from one to several prepared keys, creating a range of
engineers, post-graduates, technicians and tones used for playing a musical solo.
administration staff under the direction of Hugues Vinet.

5
Interface - Edit

Page Select 1 2 Highlight Key

4 Randomize

Parameter Link 3 5 Presets

Layer 1 Sound 6

Layer 1 Controls 7

Octave Down 8 9 Octave Up

Layer 2 Sound 10

Layer 2 Controls 11

Key 12

IRCAM Prepared Piano features two layers, allowing the use of two preparations per note across the entire 88 note range.
Use the included presets to change entire layers or customize the layout one key at a time.

Note: IRCAM Prepared Piano can have more than 10,000 samples loaded into memory in a single instance; combined with
advanced scripting and effects it can be both CPU and Memory intensive.

1 Page Select 5 Presets 9 Octave Up

Quickly alternate between the Edit, » Preset 1/2 Click to quickly view each key’s
Effects, and Settings Pages Discretely select presets for layer 1 and 2 preparations within a higher octave
» Preset 1+2
2 Highlight Key Select presets that utilize both layers 10 Layer 2 Sound
When enabled, keys will light up as Select the preparation for layer 2
they’re played from MIDI, helping to 6 Layer 1 Sound
visualize preparations Select the preparation for layer 1 11 Layer 2 Controls
» Volume
3 Parameter Link 7 Layer 1 Controls Adjust the volume of layer 2
When enabled, all layer parameters » Volume » Tune
of each key will be linked and can be Adjust the volume of layer 1 Adjust the fine tuning of layer 2
adjusted simultaneously » Tune [+/- 24 semi]
Adjust the fine tuning of layer
4 Randomize 1 [+/- 24 semi] 12 Key
Clicking the dice will Quickly determine the key locations you
assign a random collection of 8 Octave Down are viewing with this navigation bar
preparation to all keys within Layer 1, 2, Click to quickly view each key’s
or 1 & 2 preparations within a lower octave

6
Interface - Effects

Delay 1

Reverb 2

1 Delay 2 Reverb
» On/Off toggle » On/Off toggle
» Mix » Mix
Adjust the dry/wet ratio Adjust the dry/wet ratio
» Time » Size
Adjust delay timing Adjust room size [4 to 50m]
» Feedback » Decay
Increase or decrease the amount of re-injecting signal Adjust decay time
» Cutoff » Low Decay
Directly control delay’s filter cutoff Adjust the low frequency decay time
» Spread » Low XOver
Increase or decrease stereo spread Adjust the crossover frequency of the Low decay
» High Decay
Adjust the high frequency decay time
» High XOver
Adjust the crossover frequency of the high decay

7
Interface - Settings

Mic 1 2 Global Parameters

5 Bar Hits
Amplitude 3

Dynamics 4

1 MIc 3 Amplitude 5 Bar Hits

» On/Off toggle » Preparation {Menu] » Preparation Selection
Turn on or off the mics Select a preparation to edit its amplitude Mapped from C-1 to G#-1, each of the
» Level » ADSR piano’s metal bars were recorded in
» Mic 1 (DPA microphones) Adjust the amplitude [typical unique ways. Choose between hitting
Close position mic, within the piano ADSR envelope] the metal bars with hands, sticks,
» Mic 2 (Shoeps microphones) or mallets
Mic positioned above the player’s head 4 Dynamics » Play
» Dynamics Press to audtion preparation
2 Global Parameters Adjust the influence of overall dynamics » Extra Length CC1 / Extra Length CC2
» Release Volume » Velocity Curve Strumming the unused part of the
Controls the volume of all the Adjust the play style from more soft to strings in a piano with a plectrum is
release samples more firm often done as an effect in prepared
» Resonance Volume » Una Corda CC pianos. These knobs simulate that
Controls the volume of the pedal-down Select a CC to control the Una Corda strumming effect and you can control
resonance effects pedal [only affects preparations utilizing them with the CC of your choice
» Tone the 2 and 3 strings]
Overall sound brightness » Sostenuto CC
» Global Tune Select a CC to control the
Adjust the overall tuning of your piano Sostenuto pedal

8
IRCAM Prepared Piano Playing Techniques

NOTE: To reflect the fact that certain effects or Expanded Playing Techniques
preparations cannot be performed in all registers, the full Striking the Strings
range of preparations are not available for all keys when Mallets: The strings are struck with a vibraphone mallet.
using IRCAM Prepared Piano within UVI Workstation. The resulting sound is similar to a normal key strike, but
For example, you will not find a screw preparation for is slightly softer due differences between the mallet and
the bass keys because the lowest bass keys have only the normal hammer action.
one string, making it impossible to place a screw on the
lowest bass keys. Wooden Stick: The strings are struck directly with wooden
sticks, making the attack harder and shorter. The timbre
Normal Playing Techniques is similar to that of a dulcimer and can be activated by
Sustain and None pressure on the forte pedal.
A normal piano sound. The strings are struck by
hammers, triggered by the notes played on the keyboard. Stick Rebound: This setting features the same technique
Use of the una corda and forte pedals is possible. There is and resulting timbre as the Wooden Stick setting, but
no object in or on the strings modifying the sound. allows the stick to bounce on the string after the initial
strike.
The none preparation setting does not refer to there
being no object or preparation modifying the sound of Muted Stick Rebound: This setting features the same
the string, but rather to the lack of sound produced by technique as Stick Rebound, but uses the stick on muted
playing this key - a form of preparation that is impossible strings (see mutes).
without breaking the hammer. This setting can be very
useful in preventing the sounding of misplayed notes, or Plucking or Strumming the Strings with the Fingers
for playing Gyorgy Ligeti’s Etude: Touches bloquées (by Pizz: The strings are plucked with a plectrum, one string
cheating, a little...) only per note. This results in a sound resembling that of

9
IRCAM Prepared Piano Playing Techniques [continued]

a guitar. It is a widely used effect, for example by Georg For the following preparations, the string is normally
Crumb in Makrokosmos, or by Gerard Pesson struck by the hammer. Objects can be placed on the
in Rescousse. strings, altering the manner in which they sound. The
ones placed on the strings in this manner would normally
Scratch: A fast scraping action by the nail along the affect several notes in succession on a real piano, which is
string. When used on the bass strings, this causes a not mandatory in IRCAM Prepared Piano.
burst of harmonics. One can hear this technique, in
combination with numerous other piano string effects, Other objects may be inserted between the strings. From
in Clepsydre by Horacio Radulescu (for 16 sound icons, the treble keys down to medium bass (F1), there are three
or pianos installed vertically and played exclusively on strings per note. In this range it is possible to insert one
the strings). object between strings 1 & 2, and another in the strings
2 & 3.
Sustained Sounds
Bow: Rosin horsehair (a single strand of a violin bow) Similarly, in IRCAM PREPARED PIANO, you can continue
causing the two or three strings that comprise a single to add several more objects or playing techniques from
pitch to vibrate. The resulting sound is continuous. those available when there are only two strings (F #
Changes in the direction of the bow are always audible 0 - E1) or one (as for F0). When the una corda pedal is
and give transient color to the timbre. This effect is pressed, only the preparations on strings 2 and 3 are
sometimes made with fishing line rosin. activated, meaning that the pedal is functioning in line
with organ techniques.
Ebow: A small device normally used on electric guitars,
causing the strings of the piano to vibrate through a Objects Placed on the Strings
magnetic field. This produces a continuous sound with a Paper: Sheet of writing paper, rolled up and placed on
masked attack, resulting in a delicate and subtle timbre. the strings. Its design and the resulting tone echo the
bassoon of some pianofortes.
Other String Playing Techniques
Harmonics: The default harmonic is the octave, activated Aluminum: Aluminum foil placed flat on the strings. This
by finger pressure in the middle of the string. The key gives a fairly long and characteristically metallic vibration.
is then played normally from the keyboard. It is also It is similar to preparations that consist of placing metal
possible to transpose this harmonic, thereby simulating chains on the strings, as in the first work, Primeval
any harmonic of the string. A specific digital chord can Sounds, in Georg Crumb’s Makrokosmos I.
be played by double clicking on the detune button. This
technique is greatly used in solo music, as in Crumb’s iPhone: An iPhone resting flat on the strings. This gives a
work, for example, and may even found in a transcript slightly metallic damping effect, as well as an occasional
of Johann Sebastian Bach’s Contrapunctus XIX by Marc- bouncing of the iPhone when the strings are struck.
Andre Dalbavie. This is due to the iPhone not being tethered to the
piano strings.

10
IRCAM Prepared Piano Playing Techniques [continued]

Mutes: The string is dampened with a finger, close to Screw / Bolt [tapered screw / bolt screw]: The screw, or
the bridge. This category of dampened sounds includes bolt, is the most common preparation. There are screws
preparations inserted between the strings, using fabric, of varying lengths and thicknesses, as well as screws with
felt [Felt Temperament Strip], or window seal, as well as large heads, small heads, tapered heads or un-tapered
variations in angle that influence the overall time effect heads. All of these factors affect the sonic characteristics
of the damping. Studies by Michael Levinas exploit when applied as a preparation to a piano string.
this technique.
The preparation chosen uses a wide range of materials
Objects Inserted Between the Strings to create a variety of timbres from one note to another.
Rubber: Large pencil erasers are used for this preparation, The sounds are generally rich and resonant; they remain
producing a sound similar to that of a deep bass gong. In within the gong family, featuring a small vibration when
the first movement of John Cage’s Amores, three notes the note is played forte.
are muted with rubber giving a «touches bloquées»
effect in contrast to other resonant preparations.

Half Spring-type Clothespin: The half-spring pegs

found here represent preparations made from wood.
The hardness of the wood used in the pegs results in
the production of gong-like sonorities. To simulate
preparations using softer wood (which give a duller,
dampened sound), half spring pegs can be combined
with muted or rubber preparations. Wooden preparations
sometimes touch the soundboard, producing a short,
hard attack when the string is struck. It is possible to All of Cage’s works use at least one screw. Prelude for
achieve this effect by simultaneously selecting both Meditation contains only four notes, surrounded by
Clothes Pin and Eraser preparations. numerous silences. Each note in the piece is prepared
with bolts in addition to the normal sound of the piano,
making it possible to hear the preparations clearly. By
contrast, in Daughters of the Lonesome Island thirty-
nine keys are prepared, almost all of them with screws,
resulting in an abundance of timbres which remind the
listener of a gamelan ensemble.

11
IRCAM Prepared Piano Playing Techniques [continued]

Screw / Bolt + Loose Nut (buzz): The same preparation Effects

described above, but with a loose nut around the screw Glass Slide: A stemless glass is held on the strings,
which bounces when the note is played, creating a maintaining constant pressure, and slid lengthwise
«buzz». An example of this preparation can be found in along them. The glissando is ascending or descending,
the first movement of John Cage’s Amores, where two depending on whether the slide is moving towards or
notes prepared using screws must also be topped with away from the dampers.
nuts. This work also serves as a concise overview of the
preparations Cage employed using mixed materials.
Coins: A coin is inserted between the strings (above 1 and
3 and below 2), greatly enriching the sound. The result
resembles a rich yet soft gong, sometimes featuring
a very slight vibration. The sound is generally more
rounded than when the strings are prepared with screws.
The low notes of John Cage’s A Room are a fine example
of the use of coins, combined with screws used on
other notes. Bar Hits: A percussive impact on the bars of the piano’s
cast-iron plate, above the soundboard. Three playing
techniques are used: the hands, soft drumsticks and hard
drumsticks. These samples are played on the lowest bass
notes beyond A-1. In Caravan, from Jacky Terrasson’s
album Mirror, there is an improvisation using the hands
inside the piano frame (video: http://www.youtube.com/
watch?v=RxTi9lJSHyY). The phrase featured at 2:35 would
be completely applicable within the IRCAM Prepared
Piano software.

Extra Length: A plectrum slide along the part of the

strings located between the bridge and the tuning
pins. Since this is an unusual two-handed polyphonic
technique, two potentiometers are used to produce
this effect.

12
Preset & Preparations List

Presets

IPP - All All Mics

IPP - All DPA Mics
IPP - All Shoeps Mics Sustain Stick Mutes Stick rebound
IPP - Bow from A-1 to C7 from A-1 to C7
IPP - ClothesPin
IPP - Coins
IPP - Ebow
IPP - Eraser
IPP - Glass Slide Sustain Stick rebound Harmonics
IPP - Harmonics from F1 to C#6 from A-1 to F5
IPP - Mutes
IPP - Phone
IPP - Piano
IPP - Scratch
IPP - Screw and Nut Mutes Harmonics Pick
IPP - Screw from A-1 to C7 from A-1 to F5
IPP - Sustain

Preparations
Mutes Pick Harmonics Mallets
from A-1 to C7 from A-1 to F5

Sustain
from A-1 to C7

Mutes Mallet Harmonics Stick

from A-1 to C7 from A-1 to F5

Sustain Pick
from A-1 to C7

Mutes Stick Eraser

from A-1 to C7 from A-1 to G4

Sustain Mallet
from A-1 to D5

13
Preset & Preparations List

Eraser Pick iPhone Stick Clothes pin Pick

from A-1 to G4 from A-1 to G4 from A-1 to G4

Eraser mallet Coins Clothes pin mallet

from A-1 to G4 from F1 to D#5 from A-1 to G4

Eraser Stick Coins Pick Clothes pin Stick

from A-1 to G4 from A-1 to G4 from A-1 to G4

iPhone Coins mallet Screw

from A-1 to B6 from A-1 to G4 from A-1 to C7

iPhone Pick Coins Stick Screw Pick

from A-1 to G4 from A-1 to G4 from A-1 to G4

iPhone mallet Clothes pin Screw mallet

from A-1 to G4 from A-1 to C7 from A-1 to G4

14
Preset & Preparations List

Screw Stick Ebow

from A-1 to G4 from A-1 to C7

Screw+Nut Scratch
from A-1 to C7 from A-1 to E1

Screw+Nut Pick Glass Slide Up

from A-1 to G4 from E2 to F5

Screw+Nut mallet Glass Slide Down

from A-1 to G4 from E2 to F5

Screw+Nut Stick Aluminum Foil

from A-1 to G4 from A-1 to F6

Bow Paper
from A-1 to C7 from A-1 to A#5

15
Links

UVI
Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . uvi.net/

Soundbank Installation Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . installing_uvi_soundbanks_en.pdf

UVI Workstation User Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . uviworkstation_user_guide_en.pdf

Your Registered Product Serial Numbers and Download Links . . . . . . . . . uvi.net/my-products

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16
 Produced by UVI
Documentation / Expertise
Yan Maresz
Nicolas Mondon
Nathaniel Reeves
Kai Tomita

John Cage Presets

Kevin Guilhaumou

Software + Scripting
Olivier Tristan
Remy Muller
Arnaud Sicard @ Acousticsamples

User Interface
Nathaniel Reeves

Graphic Design
Anthony Hak
Nathaniel Reeves

Documents
Nathaniel Reeves
Kai Tomita

Special Thanks
Frederic Roussau
Hugues Vinet
Nate Lindley