mobile locale cd fixes

s-e-a-m · Jan 21, 2020 · fb9629b · fb9629b
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commit fb9629b
Showing 4 changed files with 1 addition and 1 deletion.
diff --git a/paper/LAC-20-SEAM-sent.pdf b/paper/LAC-20-SEAM-sent.pdf
diff --git a/paper/LAC-20-SEAM.tex b/paper/LAC-20-SEAM.tex
@@ -514,7 +514,7 @@ \subsection{1991, \emph{Mobile Locale}, Michelangelo Lupone}
 Con l'avvento dei sistemi informatici in tempo reale è diventato possibile ri-mettere in diretta corrispondenza il gesto con il suono ricreando il feed-back azione-suono-ascolto-azione e, di conseguenza, far uscire gli elaboratori dai laboratori e concepire delle composizioni che prevedessero una esecuzione dal vivo sia autonoma sia integrata con altri strumenti tradizionali e non\footnote{With the appearance of real-time informatics systems, it has become possible to re-put the gesture and the sound in direct correspondence, recreating the action-sound-listening-action feed-back and, consequently, bringing the computers out of the laboratories and conceiving compositions that provided for a live performance both autonomous and integrated with other traditional and non-traditional instruments.}. 
 \end{quote}
 
-Knowing the structure of \emph{Fly 10}, shown in figure \ref{ml-fly10}, and its procedure to generate sound at the electric stadium is fundamental to understanding some of the composer tunings of algorithms,  simultaneously to balance the new real-time processing made by the porting mixed with the original tape sound made with the \emph{Fly 10} system. The 1991 state of the art of the \emph{System Fly 30} structure had 16Bit ADC/DAC with a sample rate up to 96KHz. For the release of \emph{Mobile Locale}, the label Edipan mastered the tape with upsampling to 16Bit at 48000Hz. The sounds generated with today real-time architecture could be in high resolution and at higher sampling frequencies. Discussing with Lupone all those historical data and the new procedure, underlined the necessity to have a set of filters, similar to those at the end of \emph{Fly} systems, to search a timbral balancing during the staging. 
+Knowing the structure of \emph{Fly 10}, shown in figure \ref{ml-fly10}, and its procedure to generate sound at the electric stadium is fundamental to understanding some of the composer tunings of algorithms,  simultaneously to balance the new real-time processing made by the porting mixed with the original tape sound made with the \emph{Fly 10} system. The 1991 state of the art of the \emph{System Fly 30} structure had 16Bit ADC/DAC with a sample rate up to 96KHz. During the production, the sound engineer Piero Schiavoni does the recordings, the editing and the mixing of \emph{Mobile Locale}. At this stage, the electronics on tape was upsampled to 16Bit at 48000Hz. The sounds generated with today real-time architecture could be in high resolution and at higher sampling frequencies. Discussing with Lupone all those historical data and the new procedure, underlined the necessity to have a set of filters, similar to those at the end of \emph{Fly} systems, to search a timbral balancing during the staging. 
 
 The entire electronics, both tape and live, was conceived as a shadow of the acoustic percussions and amplification of them. So there are three levels of musical matter on stage: the acoustic (a complex set of percussions), the electroacoustic (sound reinforcement, early reflections simulation and tape), the live electronics (real-time processes based on three different delay lines usages).
 

diff --git a/poster/SEAM-POSTER-LAC2020.pdf b/poster/SEAM-POSTER-LAC2020.pdf
diff --git a/poster/img/delbank.png b/poster/img/delbank.png