This piece is born from a very special personal interest in working with an interpreter (musician, performer) to create in real time a sound/musical piece.

I´ve been always fascinated by works such as Karlheinz Stockhausen's "Mikrophonie", a piece that is built by the close interaction between the performer(s) and the composer.

In "MFRT" the performer executes movements, pauses, attacks, crecendos, glissandos, keep the tempo of the piece of music, while the Composer in the control table executes the transitions, changes in tone, timbre, effects, equalization, volumes and dynamics, in order to create a composition in real time.

The piece is made with the sounds produced by the action of removing the different types of adhesive tapes stuck to a table. The piece is a written composition.

There is not pre-recorded sounds, but only the use of diverse tapes (thickness, material, etc) in various lengths and positions (overlays, vertical, horizontal, axes) and the action/movements of the performer 

The sounds are captured with contact microphones x2, one is used as a Pulse/Envelope Follower for the modular and direct sound to the Computer. The triggers activate the mapped sounds in real time. In some parts of the piece you can follow the sound of the tape being removed and in some others the sound effects mask this action.

Setting up the table and placing the tapes on the table is crucial in this piece.

This arrangement is previously set in the rehearsals that are carried out with the performer in order to distribute the table by sounds and types of movements that the performer will make (above all, it is based on the type of attack to be performed).

It is important to generate a route of travel throughout the piece, which creates that visually, the movements of the performer are rich and varied and generates a kind of choreography and a visual connection with the movement and the sound that it produces, as well as synchrony. with the composer.

Both the performer and the conductor have their own score. The performer's score indicates the type of sound that the different tape sections have on the table. These sections have the same pattern/shape as the tapes placed on the table and are also numbered, so the performer has both visual and structural support.

THE PERFORMER SCORE

The first image (gray table) is the score of the performer. In it you can see all the drawings and types of tapes that are on the table.

Although each sound is established in advance and each section is composed, the duration of each of these sections and the times that are used in each of them, are totally directed by the performer. For this reason, the duration of the piece can change since the time that the performer spends in each section can vary according to what the performer decides.

This is extremely important since the piece is being generated by the performer with his movements and these in most cases are determined by the "feeling" of the moment.

THE CONDUCTOR/DIRECTOR SCORE

The conductor's score indicates both the sounds and effects to be used as well as the transitions that are made. The transitions are the changes of sounds (and of patches, cables, effects), and the openings or changes of the input channel.

For the entire piece there are only two sound inputs that come directly from the performer's table. These 2 channels correspond to the two microphones placed on the table and enter: Channel 1- directly to the Eurorack Modular (Envelope Follower) and Channel 2- directly to the sound card (audio-interface). The changes and/or transitions occur alternating Channel 1 and 2, in order to modulate the sounds.

PATCH / SCORE