Muutke küpsiste eelistusi

Performing Electronic Music Live [Kõva köide]

  • Formaat: Hardback, 276 pages, kõrgus x laius: 254x178 mm, kaal: 800 g, 3 Tables, black and white; 23 Line drawings, color; 54 Line drawings, black and white; 6 Halftones, color; 30 Halftones, black and white; 29 Illustrations, color; 84 Illustrations, black and white
  • Sari: Audio Engineering Society Presents
  • Ilmumisaeg: 29-Dec-2021
  • Kirjastus: CRC Press
  • ISBN-10: 0367340747
  • ISBN-13: 9780367340742
Teised raamatud teemal:
Performing Electronic Music LiveSuurem pilt
  • Formaat: Hardback, 276 pages, kõrgus x laius: 254x178 mm, kaal: 800 g, 3 Tables, black and white; 23 Line drawings, color; 54 Line drawings, black and white; 6 Halftones, color; 30 Halftones, black and white; 29 Illustrations, color; 84 Illustrations, black and white
  • Sari: Audio Engineering Society Presents
  • Ilmumisaeg: 29-Dec-2021
  • Kirjastus: CRC Press
  • ISBN-10: 0367340747
  • ISBN-13: 9780367340742
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780367340742.html
Märksõnad:
Performing Electronic Music Live lays out conceptual approaches, tools, and techniques for electronic music performance, from DJing, DAWs, MIDI controllers, traditional instruments, live sound design, hardware setups, custom software and hardware, to live visuals, venue acoustics, and live show promotion. Through case studies and contrasting tutorials by successful artists, Kirsten Hermes explores the many different ways in which you can create memorable experiences on stage. Featuring interviews with highly accomplished musicians and practitioners, readers can also expand on their knowledge with hands-on video tutorials for each chapter via the companion website, performingelectronicmusic.live.

Performing Electronic Music Live is an essential, all-encompassing resource for professionals, students of music production courses, and researchers in the field of creative-focused performance technology.
List of illustrations
xix
Preface xxv
Acknowledgements xxvii
Introduction 1(7)
1 General advice
8(8)
1.1 The concept
8(1)
1.2 Confidence and preparation
9(2)
1.2.1 Effective rehearsal
9(1)
1.2.2 Dealing with stage fright
9(1)
1.2.3 Stepping into the performance persona
10(1)
1.2.4 Using feedback and being prepared for rejection
10(1)
1.3 Quality of the production
11(1)
1.4 Factors that determine the setup choice
11(5)
1.4.1 The music - genre and composition
12(1)
1.4.2 The act - personality, motivation, and skills
12(1)
1.4.3 Band members and skills
13(1)
1.4.4 The performance situation
13(1)
1.4.4.1 The audience
13(1)
1.4.4.2 The venue and playback system
14(1)
1.4.4.3 Risk
14(1)
1.4.4.4 Budget
14(1)
1.4.4.5 Need for portability
14(1)
Tutorial and takeaway points
14(1)
Notes
15(1)
2 DAWs and controllers
16(33)
2.1 Non-linearity of time
17(4)
2.2 Overview of performance DAWs
21(2)
2.2.1 Ableton Live
22(1)
2.2.2 Bitwig
22(1)
2.2.3 Maschine
22(1)
2.2.4 Logic Pro
22(1)
2.2.5 Motu Digital Performer
23(1)
2.2.6 FL studio
23(1)
2.2.7 Standalone hardware DAW equivalents
23(1)
2.3 Plugging in hardware
23(6)
2.3.1 Live arrangement
25(2)
2.3.2 One-shots and finger-drumming
27(1)
2.3.3 Performing on software instruments
27(1)
2.3.4 Controlling audio effects
27(2)
2.3.5 Other external hardware
29(1)
2.4 Prepared musical material and live recording
29(1)
2.5 Collaboration
30(1)
2.6 Randomness and generative approaches
30(1)
2.7 Customizing the performance interface
30(1)
2.8 Performing live in more studio-oriented DAWs
31(1)
2.9 Working with visuals
31(1)
2.10 Recording the show
31(8)
Tutorial
32(2)
From a complex studio production to an intuitive live set
34(1)
Looping clips
34(3)
One-shots
37(1)
Follow actions
37(1)
Live effects
38(1)
Live keys and vocals
38(1)
Visuals
39(1)
2.11 Takeaway points
39(10)
Notes
39(1)
Interview with Robert Henke
40(9)
3 MIDI and CV performance controllers
49(16)
3.1 CV/GATE
49(1)
3.2 The MIDI protocol
50(3)
3.2.1 MIDI messages in the MIDI 1 protocol
51(2)
3.2.2 MIDI 2.0
53(1)
3.3 Types of performance controllers
53(11)
3.3.1 Buttons
54(1)
3.3.2 Continuous signals: knobs, faders, sliders
54(1)
3.3.3 Controllers that resemble traditional musical instruments
55(1)
3.3.4 Modular controllers
56(1)
3.3.5 Motion-controlled performance hardware
56(2)
3.3.6 Turning non-musical hardware into MIDI controllers
58(1)
3.3.7 MIDI Polyphonic Expression
59(1)
3.3.8 Sequencers
60(1)
3.3.9 Clock signals and MIDI routing
61(1)
Tutorial
61(3)
3.4 Takeaway points
64(1)
Notes
64(1)
4 DJing and turntablism
65(22)
4.1 A short history of DJing
66(2)
4.2 Types of DJ in the present day
68(1)
4.2.1 Touring artist-DJs
68(1)
4.2.2 Resident DJs
68(1)
4.2.3 Mobile event DJs
68(1)
4.2.4 Radio DJs
69(1)
4.2.5 Online DJ-producers
69(1)
4.3 DJ techniques
69(2)
4.3.1 Mixing techniques and turntablism
69(1)
4.3.2 Virtuoso turntablism
70(1)
4.3.3 Effects and audio processing
70(1)
4.3.4 Programming
70(1)
4.4 DJ tools available today
71(7)
4.4.1 DJ software and hardware controllers
72(1)
4.4.2 CDJs
72(1)
4.4.3 Going retro: using vinyl for DJing
73(1)
4.4.4 Headphones, monitors, and microphones
73(1)
4.4.5 Streaming tracks from online platforms
74(1)
Tutorial: three DJ setups presented by Dan Murray
74(1)
Preparation
74(1)
DJ skills and techniques
75(1)
Beatmatching on vinyl
75(1)
Getting creative on CDJs
76(1)
Working with a hybrid setup
77(1)
Performance styles
77(1)
4.5 Takeaway points
78(9)
Notes
78(1)
Interview with Alex M.O.R.R.H.
79(8)
5 Incorporating acoustic instruments and vocals
87(20)
5.1 Traditional instruments in electronic music
87(2)
5.2 Fusion genres
89(1)
5.3 Live instruments and vocals that are not on the record
90(1)
5.4 Instruments that are on the record but not on stage
91(1)
5.5 Microphones and Dl boxes
91(1)
5.6 Effects and sound manipulation
92(4)
5.6.1 Vocal effects processing
93(1)
5.6.2 Vocoders and talk boxes
93(1)
5.6.3 Effects for other instruments
94(1)
Tutorial: generated live vocal harmonies, violin and synth
94(2)
5.7 Takeaway points
96(11)
Notes
96(1)
Interview with Matt Robertson
97(10)
6 Live synthesis and sound design
107(18)
6.1 Synthesis technology
107(8)
6.1.1 Synthesis techniques
109(1)
6.1.1.1 Additive synthesis
109(1)
6.1.1.2 Subtractive synthesis
110(1)
6.1.1.3 FM synthesis
110(1)
6.1.1.4 Waveshaping synthesis
110(1)
6.1.1.5 Sampling
110(1)
6.1.1.6 Granular synthesis
111(1)
6.1.1.7 Wavetable synthesis
111(1)
6.1.1.8 Physical modelling synthesis
111(1)
6.1.2 Controls typically found on commercial synthesizers
112(1)
6.1.2.1 Oscillators
112(1)
6.1.2.2 Amplifier
113(1)
6.1.2.3 Amplitude envelope
113(1)
6.1.2.4 Filters
113(1)
6.1.2.5 Modulation
114(1)
6.1.2.6 Clock
114(1)
6.1.2.7 Effects, sequencing, and arpeggiators
114(1)
6.1.2.8 Playback controls
115(1)
6.2 A rich history of artists shaping their sound through synthesis
115(2)
6.2.1 Retro-leaning synths used by current artists
116(1)
6.3 A brief history of sampling
117(2)
6.4 Using synths and samplers on stage
119(5)
6.4.1 Playing live on hardware synthesizers and samplers
119(1)
6.4.1.1 Choosing hardware synths
119(1)
6.4.1.2 Working with pre-programmed sequences
120(1)
6.4.1.3 Modular synthesizers on stage
121(1)
6.4.2 Performing live with software synthesizers
122(1)
Tutorial
122(2)
6.5 Takeaway points
124(1)
Notes
124(1)
7 Performing without a laptop
125(16)
7.1 Building blocks of a laptop-free setup
126(6)
7.1.1 Sound sources
126(2)
7.1.2 Control signal generators
128(1)
7.1.2.1 Clock signal generators
129(1)
7.1.3 Control signal routing tools
129(1)
7.1.4 Sound processors and effects
130(1)
7.1.5 Mixers
131(1)
7.2 All-in-one hardware tools
132(1)
7.3 Cabling and connections
132(8)
Tutorial: a modular synthesizer setup (Matt Gooderson)
133(1)
Modular systems
134(1)
Components of the hardware setup
134(1)
Melody
134(1)
Rhythm
134(1)
Sound sources
135(2)
Utility modules
137(1)
Multiple
137(1)
Quantizer
137(1)
Sample and hold
138(1)
Mixer
139(1)
Audio modifiers
139(1)
Composition and performance
139(1)
7.4 Takeaway points
140(1)
Notes
140(1)
8 Programming custom performance tools
141(52)
8.1 Getting started with programming
142(5)
8.1.1 What is a program?
142(3)
8.1.2 What programming language should you learn?
145(2)
8.2 Inspiring artist examples
147(10)
8.2.1 Complete playback solutions
147(1)
8.2.2 Effects plug-ins and software instruments
148(1)
8.2.3 Expanding the functionality of hardware
149(1)
8.2.4 Automatic performance tools
149(2)
8.2.5 Letting the outside environment control the sound
151(1)
Tutorial: introducing BBC R&D's Audio Orchestrator, featuring Jon Francombe and Stephen Davismoon
151(1)
How does Audio Orchestrator work?
152(1)
The Sequences page
153(1)
The Controls page
154(1)
The Audio page
154(1)
The Appearance page
155(1)
The Export page
155(2)
8.3 Patch It: modular music programming environments
157(16)
8.3.1 Max
157(1)
8.3.2 Pure Data
157(1)
8.3.3 Other node-based programming environments
158(1)
8.3.4 Node-based programming in action
158(1)
8.3.4.1 Effects processing
159(1)
8.3.4.2 Generative music
159(1)
8.3.4.3 Sampling and sequencing
160(1)
8.3.4.4 Working with external hardware
160(1)
8.3.4.5 Theatre shows
161(1)
Tutorial: generative music in Max, featuring Francesc Moya Serra
162(1)
First steps and audio output
162(1)
Metronome and timing
163(1)
Sound triggering with the select object
164(1)
Using MIDI notes to perform on a VST synth
165(1)
Random pitches in a subpatch
166(1)
Adding further complexity
166(1)
Random note velocities and durations
167(2)
Modulating synthesis parameters
169(1)
Fitting the random note pitches to a musical scale
170(1)
Percussion
171(2)
The performance GUI
173(1)
8.4 Live coding: making EDM with algorithms
173(10)
Tutorial: an introduction to Supercollider, featuring Eli Fieldsteel
174(1)
The interface
175(2)
Getting started
177(1)
Oscillator UGens
177(3)
Cross-fading between sounds
180(1)
Working with pre-recorded audio samples
180(3)
What else is possible in Supercollider?
183(1)
8.5 Takeaway Points
183(10)
Notes
183(2)
Interview with Holly Herndon
185(8)
9 Building custom hardware tools
193(11)
9.1 New instruments built from scratch
193(2)
9.2 The human body as musical instrument
195(1)
9.3 Adding functionality to existing instruments
196(1)
9.4 Performing music on toys and household items
196(1)
9.5 How can you get started?
197(6)
Tutorial: Optical Theremin inside a Game Boy Shell with R41NB0WTR4$H (Dominique Pelle tier)
199(1)
What you will need
200(1)
Casing
200(1)
Electronics
200(1)
Testing connections
201(1)
Soldering connections
202(1)
Closing up the case
202(1)
Other things you can do
202(1)
9.6 Takeaway points
203(1)
Notes
203(1)
10 The performance setting
204(23)
10.1 Common live sound technology
204(1)
10.2 The soundcheck
205(1)
10.3 Live sound mixing
206(1)
10.4 Spaces
206(12)
10.4.1 Arenas and stadiums
206(2)
10.4.2 Large Festivals
208(1)
10.4.3 Nightclubs
209(1)
10.4.4 Warehouse raves
210(1)
10.4.5 Concert halls
210(1)
10.4.6 Outdoor theatres
211(1)
10.4.7 Small and intimate shows
211(1)
10.4.8 Controlled acoustic spaces
212(1)
10.4.9 Installations
213(1)
10.4.10 Remote settings and streaming
213(1)
Tutorial: a large redundancy playback rig, featuring Steven Massey
214(1)
Stems for playback
215(1)
Uninterruptible power supply
215(1)
Redundancy playback rig
216(1)
Output routing via a split rack
216(1)
The monitor mix
216(1)
The live mix
217(1)
10.5 Takeaway points
218(9)
Notes
218(1)
Interview with Laura Escude
219(8)
11 Stage design and visual parameters
227(11)
11.1 Tools for creating visual interest
228(3)
11.1.1 Moving visuals
228(1)
11.1.2 Lighting
229(1)
11.1.3 Dancing and acting
229(1)
11.1.4 Fashion
230(1)
11.1.5 Stage design
231(1)
11.2 What determines the choice of visual stage parameters?
231(5)
11.2.1 Artist identity
231(2)
11.2.2 Visual parameters that convey a narrative
233(1)
11.2.3 Creating an abstract connection between what is seen and heard
233(1)
11.2.4 Amplifying performance parameters
234(1)
Tutorial
235(1)
11.3 Takeaway points
236(2)
Notes
237(1)
12 Planning and promotion
238(13)
72.7 Music branding principles
238(4)
12.1.1 Artist identity
239(2)
12.1.2 Target audience
241(1)
12.2 Creating marketing materials
242(4)
12.2.1 Visual materials
242(1)
12.2.2 Biography
243(1)
12.2.3 Press release
243(1)
12.2.4 Website
244(1)
12.2.4.1 A clear representation of the artist image
244(1)
12.2.4.2 Layout and content
244(1)
12.2.4.3 Search engine optimization
245(1)
12.2.5 Social media
245(1)
12.2.6 Hardcopy marketing materials
246(1)
12.3 Networking and gig opportunities
246(3)
Tutorial: music industry Dos and Don'ts presented by Woody van Eyden
248(1)
Where am I now?
249(1)
Where do I want to be?
249(1)
What do I need to do to get there?
249(1)
Who can help me?
249(1)
What should I do in terms of networking?
249(1)
12.4 Takeaway points
249(2)
Notes
250(1)
13 Conclusion
251(10)
13.1 What do electronic musicians do on stage?
251(1)
13.2 What constitutes a great electronic music performance?
252(1)
13.3 How do I choose the concept for my show?
252(2)
13.3.1 A compelling performance persona
253(1)
13.3.2 Virtuosic skills
253(1)
13.3.3 Technical know-how
253(1)
13.3.4 A compelling performance setting
253(1)
13.3.5 Liveness
253(1)
13.3.6 Core values
254(1)
13.3.7 Visual interest
254(1)
13.4 What does my audience expect?
254(1)
13.5 I am quite shy, but I would like to perform live. What can I do?
255(1)
13.6 I cannot play any instruments or sing. Can I still perform live?
255(1)
13.7 Should I be a solo artist or form a band?
255(1)
13.8 What kind of tools do I need to perform electronic music live?
256(1)
13.9 There are so many different options. What is the right setup for me?
256(1)
13.10 Who creates electronic performance equipment?
257(1)
13.11 Where can I try out and buy performance equipment?
258(1)
13.12 I produce music in a DAW. How can I turn this into a live show?
258(1)
13.13 Should my live show sound like my record?
258(1)
13.14 What does "live" mean? Should every sound be created in the moment, or are backing tracks acceptable?
259(1)
13.15 Is it bad to mime and pretend that I am doing something on stage when I am not?
259(1)
13.16 I have never produced any music. Where do I begin?
259(1)
13.17 How should I prepare for my show?
260(1)
13.17.1 Practice
260(1)
13.17.2 Sound check
260(1)
13.17.3 Feedback
260(1)
13.18 How can I find gig opportunities?
260(1)
Thank you!
260(1)
Appendix - Summary table 261(7)
Index 268
Kirsten Hermes is an interdisciplinary researcher, book author, senior lecturer, violinist and audio-visual artist, bridging scientific and creative domains in her work. She tours internationally under the moniker Nyokeë, integrating the iconic sound of retro games consoles into high-energy electropop tracks, accompanied by her moving graphics. Together with Joe Smith, she is also in a hybrid neoclassical and electronic band called Emb:re.

Kirsten holds a PhD in sound perception from the University of Surrey (UK), which was funded by the British Engineering and Physical Sciences Council. She also holds a Masters Degree in Audio Production from the University of Westminster. Kirsten regularly publishes interdisciplinary book chapters and academic papers, combining scientific and technical knowledge with creative practice.