![]() There’s a whole series of arguments both for and against using laptops for live performance. They also rarely crash and don’t let you check Facebook (yes, that’s an advantage). Q: Wait a minute, don’t all those machines you’re using have computers in them? A: Yes, but they are designed as musical instruments with tactile controls and feedback. So if all of these solutions exist, what’s the problem?įor the last five years I have been developing ways to perform as a soloist without the use of a laptop computer. Also, most DAWs handle real time MIDI recording beautifully. Arturia has gone a step (pun intended) in the right direction with the BeatStep Pro allowing for real time recording, also without polyphony. Elektron machines all have real time recording, as does the DSI Tempest (although it lacks polyphonic recording). Simply including a real time record mode in addition to the step sequencing functionality would improve the demographic range and usability of these devices and applications. However, for pragmatic music making anyone with some basic keyboard technique will agree that being able to record notes in real time is faster, more efficient, and more expressive than pressing them in via buttons, mouse clicks, or touch screen taps. I love step sequencers because they encourage us to do things differently and embrace chance. To date that’s hyperbole, but step sequencers have become ubiquitous in MIDI controllers, iPad apps, synths, drum machines, and modular systems. At one point I remarked that it’s hard to buy a toaster without a step sequencer in it. Step sequencers are everywhere these days. Later on I made it into a Max for Live device that you can download here. I even built a rudimentary step sequencer in Max back in 2009. Once again, don’t get me wrong! I love step sequencing. One example of this is the step sequencer. Furthermore, including those features would encourage non-traditional musicians to develop new techniques and expand their capabilities, knowledge, range, and interaction with other musicians. However, with the inclusion of a few key features these devices and applications could not only be good fun for those without formal music education, but also useful for those with it. Don’t get me wrong! I am all for making music technology accessible to the masses. While advancements in music technology have led to amazing new instruments, some popular musical devices and applications fail to accommodate musicians with rudimentary to advanced skills in traditional techniques. At the event I added the Moog Sub 37 to the setup so I could harmonize and embellish the melody lines. The melody line was sequenced on the Analog Four control voltage track and played on a Korg Monotribe (if you didn’t know that was possible read this). The original score used the DSI Tempest for all the drums and the Elektron Analog Four for bass, pads, and an arpeggio. However, once I found a good marker in the film and practiced it several times I was well prepared. What made the timing critical (and a little tricky) was that I had processed the original film audio with filters and reverb so that it sat well within the arrangement. ![]() ![]() I did not use any time lock, relying on the original BPM and finding a good starting point to get the timing right. ![]() Performing my four minutes of electronic to the film in real time was quite challenging. I wrote and performed the music for the film Familiar Pavement by Aaron Marx. Most of the scores were performed to the films by a talented orchestra assembled for the event. The event featured more than twenty short films with original scores. On August 13 I had the pleasure of performing an original film score to picture at the Landmark Center in St. ![]()
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