Performing Electronic Music Live

Contents

• Chapter 1 - General Advice
• 1. The concept
• 2. Confidence and preparation
• 2.1 Effective rehearsal
• 2.2 Dealing with stage fright
• 2.3 Stepping into the performance persona
• 2.4 Using feedback and being prepared for rejection
• 3. Quality of the production
• 4. Factors that determine the setup choice
• 4.1 The music - genre and composition
• 4.2 The act - personality, motivation and skills
• 4.3 Band members and skills
• 4.4 The performance situation
• 4.4.1 The audience
• 4.4.2 The venue and playback system
• 4.4.3 Risk
• 4.4.4 Budget
• 4.4.5 Need for portability
• Tutorial and takeaway points
• 5. References
• Chapter 2 - DAWs and Controllers
• 1. Non-linearity of time
• 2. Overview of performance DAWs
• 2.1 Ableton Live
• 2.2 Bitwig
• 2.3 Maschine
• 2.4 Logic Pro X
• 2.5 Motu Digital Performer
• 2.6 FL studio
• 2.7 Standalone hardware DAW equivalents
• 3. Plugging in hardware
• 3.1 Live arrangement
• 3.2 One-shots and finger drumming
• 3.3 Performing on software instruments
• 3.4 Controlling audio effects
• 3.5 Other external hardware
• 4. Prepared musical material and live recording
• 5. Collaboration
• 6. Randomness and generative approaches
• 7. Customising the performance interface
• 8. Performing live in more studio-oriented DAWs
• 9. Working with visuals
• 10. Recording the show
• Tutorial
• From a complex studio production to an intuitive live set
• Looping clips
• One-shots
• Follow actions
• Live effects
• Live keys and vocals
• Visuals
• 11. Takeaway points
• References
• Interview with Robert Henke
• Chapter 3 - MIDI and CV Performance Controllers
• 1. CV/GATE
• 2. The MIDI protocol
• 2.1 MIDI messages in the MIDI 1 protocol
• 2.2 MIDI 2.0
• 3. Types of performance controllers
• 3.1 Buttons
• 3.2 Continuous signals: knobs, faders, sliders
• 3.3 Controllers that resemble traditional musical instruments.
• 3.4 Modular controllers
• 3.5 Motion-controlled performance hardware
• 3.6 Turning non-musical hardware into MIDI controllers
• 3.7 MIDI Polyphonic Expression
• 3.8 Sequencers
• 3.9 Clock signals and MIDI routing
• Tutorial
• 4. Takeaway points
• References
• Chapter 4 - DJing and Turntablism
• 1. A short history of DJing
• 2. Types of DJ in the present day
• 2.1 Touring artist-DJs
• 2.2 Resident DJs
• 2.3 Mobile event DJs
• 2.4 Radio DJs
• 2.5 Online DJ-producers
• 3. DJ techniques
• 3.1 Mixing techniques and turntablism
• 3.2 Virtuoso turntablism
• 3.3 Effects and audio processing
• 3.4 Programming
• 4. DJ tools available today
• 4.1 DJ software and hardware controllers
• 4.2 CDJs
• 4.3 Going retro: using Vinyl for DJing
• 4.4 Headphones, monitors and microphones
• 4.5 Streaming tracks from online platforms
• Tutorial: three DJ setups presented by Dan Murray
• Preparation
• DJ skills and techniques
• Beatmatching on vinyl
• Getting creative on CDJs
• Working with a hybrid setup
• Performance styles
• 5. Takeaway points
• References
• Interview with Alex M.O.R.P.H
• Chapter 5 - Incorporating Acoustic Instruments and Vocals
• 1. Traditional instruments in electronic music
• 2. Fusion genres
• 3. Live instruments and vocals that are not on the record
• 4. Instruments that are on the record but not on stage
• 5. Microphones and DI boxes
• 6. Effects and sound manipulation
• 6.1 Vocal effects processing
• 6.2 Vocoders and talk boxes
• 6.3 Effects for other instruments
• Tutorial - generated live vocal harmonies, violin and synth
• 7. Takeaway points
• References
• Interview with Matt Robertson
• Chapter 6 - Live Synthesis and Sound Design
• 1. Synthesis technology
• 1.1 Synthesis techniques
• 1.1.1 Additive synthesis
• 1.1.2 Subtractive synthesis
• 1.1.3 FM synthesis
• 1.1.4 Waveshaping synthesis
• 1.1.5 Sampling
• 1.1.6 Granular synthesis
• 1.1.7 Wavetable synthesis
• 1.1.8 Physical modelling synthesis
• 1.2 Controls typically found on commercial synthesizers
• 1.2.1 Oscillators
• 1.2.2 Amplifier
• 1.2.3 Amplitude envelope
• 1.2.4 Filters
• 1.2.5 Modulation
• 1.2.6 Clock
• 1.2.7 Effects, sequencing and arpeggiators
• 1.2.8 Playback controls
• 2. A rich history of artists shaping their sound through synthesis
• 2.1 Retro-leaning synths used by current artists
• 3. A brief history of sampling
• 4. Using synths and samplers on stage
• 4.1 Playing live on hardware synthesizers and samplers
• 4.1.1 Choosing hardware synths
• 4.1.2 Working with pre-programmed sequences
• 4.1.3 Modular synthesizers on stage
• 4.2 Performing live with software synthesizers
• Tutorial
• 5. Takeaway points
• References
• Chapter 7 - Performing without a Laptop
• 1. Building blocks of a laptop-free setup
• 1.1 Sound sources
• 1.2 Control signal generators
• 1.2.1 Clock signal generators
• 1.3 Control signal routing tools
• 1.4 Sound processors and effects
• 1.5 Mixers
• 2. All-in-one hardware tools
• 3. Cabling and connections
• Tutorial: a modular synthesizer setup (Matt Gooderson)
• Modular Systems
• Components of the Hardware Setup
• Melody
• Rhythm
• Sound Sources
• Utility Modules
• Multiple
• Quantiser
• Sample and Hold
• Mixer
• Audio Modifiers
• Composition and Performance
• 4. Takeaway points
• References
• Chapter 8 - Programming Custom Performance Tools
• 1. Getting started with programming
• 1.1 What is a program?
• 1.2 What programming language should you learn?
• 2. Inspiring artist examples
• 2.1 Complete playback solutions
• 2.2 Effects plug-ins and software instruments
• 2.3 Expanding the functionality of hardware
• 2.4 Automatic performance tools
• 2.5 Letting the outside environment control the sound
• Tutorial: introducing BBC R&D's Audio Orchestrator, featuring Jon Francombe and Stephen Davismoon
• How does Audio Orchestrator work?
• The Sequences page
• The Controls page
• The Audio page
• The Appearance page
• The Export page
• 3. Patch It: modular music programming environments
• 3.1 Max/MSP
• 3.2 Pure Data
• 3.3 Other node-based programming environments
• 3.4 Node-based programming in action
• 3.4.1 Effects processing
• 3.4.2 Generative music
• 3.4.3 Sampling and sequencing
• 3.4.4 Working with external hardware
• 3.4.5 Theatre shows
• Tutorial: generative music in Max / MSP, featuring Francesc Moya Serra
• First steps and audio output
• Metronome and timing
• Sound triggering with the select object
• Using MIDI notes to perform on a VST synth
• Random pitches in a subpatch
• Adding further complexity
• Random note velocities and durations
• Modulating synthesis parameters
• Fitting the random note pitches to a musical scale
• Percussion
• The performance GUI
• 4. Live coding: making EDM with algorithms
• Tutorial: an introduction to SuperCollider, featuring Eli Fieldsteel
• The interface
• Getting started
• Oscillator UGens
• Cross-fading between sounds
• Working with pre-recorded audio samples
• What else is possible in SuperCollider?
• 5. Takeaway Points
• References
• Interview with Holly Herndon
• Chapter 9 - Building Custom Hardware Tools
• 1. New instruments built from scratch
• 2. The human body as musical instrument
• 3. Adding functionality to existing instruments
• 4. Performing music on toys and household items
• 5. How can you get started?
• Tutorial: Optical Theremin inside a Game Boy Shell with Rainbow Trash (Dominique Pelletier)
• What you will need
• Casing
• Electronics
• Testing connections
• Soldering connections
• Closing up the case
• Other things you can do...
• 6. Takeaway points
• References
• Chapter 10 - The Performance Setting
• 1. Common live sound technology
• 2. The soundcheck
• 3. Live sound mixing
• 4. Spaces
• 4.1 Arenas and stadiums
• 4.2 Large Festivals
• 4.3 Nightclubs
• 4.4 Warehouse raves
• 4.5 Concert halls
• 4.6 Outdoor theatres
• 4.7 Small and intimate shows
• 4.8 Controlled acoustic spaces
• 4.9 Installations
• 4.10 Remote settings and streaming
• Tutorial: a large redundancy playback rig, featuring Steven Massey
• Stems for playback
• Uninterruptible power supply
• Redundancy playback rig
• Output routing via a split rack
• The monitor mix
• The live mix
• 5. Takeaway points
• References
• Interview with Laura Escude
• Chapter 11 - Stage Design and Visual Parameters
• 1. Tools for creating visual interest
• 1.1 Moving visuals
• 1.2 Lighting
• 1.3 Dancing and acting
• 1.4 Fashion
• 1.5 Stage design
• 2. What determines the choice of visual stage parameters?
• 2.1 Artist identity
• 2.2 Visual parameters that convey a narrative
• 2.3 Creating an abstract connection between what is seen and heard
• 2.4 Amplifying performance parameters
• Tutorial
• 3. Takeaway points
• References
• Chapter 12 - Planning and Promotion
• 1. Music branding principles
• 1.1 Artist identity
• 1.2 Target audience
• 2. Creating marketing materials
• 2.1 Visual materials
• 2.2 Biography
• 2.3 Press release
• 2.4 Website
• 2.4.1 A clear representation of the artist image
• 2.4.2 Layout and content
• 2.4.3 Search engine optimization
• 2.5 Social media
• 2.6 Hardcopy marketing materials
• 3. Networking and gig opportunities
• Tutorial: music industry Dos and Don'ts presented by Woody van Eyden
• Where am I now?
• Where do I want to be?
• What do I need to do to get there?
• Who can help me?
• What should I do in terms of networking?
• 4. Takeaway points
• References
• Chapter 13 - Conclusion
• 1 What do electronic musicians do on stage?
• 2 What constitutes a great electronic music performance?
• 3 How do I choose the concept for my show?
• 3.1 A compelling Performance persona
• 3.2 Virtuosic skills
• 3.3 Technical know-how
• 3.4 A compelling performance setting
• 3.5 Liveness
• 3.6 Core values
• 3.7 Visual interest
• 4 What does my audience expect?
• 5 I am quite shy but I would like to perform live. What can I do?
• 6 I cannot play any instruments or sing. Can I still perform live?
• 7 Should I be a solo artist or form a band?
• 8 What kind of tools do I need to perform electronic music live?
• 9 There are so many different options. What is the right setup for me?
• 10 Who creates electronic performance equipment?
• 11 Where can I try out and buy performance equipment?
• 12 I produce music in a DAW. How can I turn this into a live show?
• 13 Should my live show sound like my record?
• 14 What does "live" mean? Should every sound be created in the moment, or are backing tracks acceptable?
• 15 Is it bad to mime and pretend that I am doing something on stage when I am not?
• 16 I have never produced any music. Where do I begin?
• 17 How should I prepare for my show?
• 17.1 Practice
• 17.2 Sound check
• 17.3 Feedback
• 18 How can I find gig opportunities?
• Thank you!