Wanted: advice on kybd w/electronic sounds in an orch piece
Posted: Mon Jul 08, 2019 11:04 am
Hi,
I am starting composition on a commission for a double concerto (viola, cello, chamber orchestra) being premiered next March. I want to augment my acoustic palette with some electronics from the pianist doubling on a keyboard (some use of samples to augment percussion etc., some use of more electronic synth sounds, including some EDM-like sounds). I have not done this before, and it is not my forte, but it is absolutely necessary for this piece. So the question is: what's the best, most “idiot-proof” way of doing this (for both me and well as future performers)? As an example, I will be having the string soloists use guitar pedals for the last movement that requires electronics (reverbs, distortion, tuning, delay): once we all know the pedal, it is pretty idiot proof. So instead of using Max or laptops it’s… Pedals.
I will not be working with cutting edge new music ensembles on this project, so I have to assume the pianists will not be a tech wizards with their own rigs, and resident sound engineers, but pianists playing in the orchestra. That’s part of why I want to make this simple and “idiot-proof.”
I know there were issues with John Adams’ works in the 1990's when he used specific hardware - keyboards/synths - that went out of production and in some cases the patches were no longer readily available. I’m not sure how that has been solved for current times.
I’m guessing there are 3 possible routes:
1. hardware 1: What Adams did, a keyboard with a sound module and an amp (I guess you send the keyboard with score and parts)
2. Hardware 2: someone suggested buying a current hardware sampler (!), load the sounds needed, and using that with a keyboard controller and an amp (I guess you send the controller with score and parts)
3. Software, a laptop, and a controller and an amp. Maybe using Kontakt in stand-alone mode since it’s pretty common?
4. Someone recently suggested I look at MainStage. I don’t know it, but are there benefits to that?
I’m not looking for complex, real-time changing effects that would require IRCAM-like knowledge and programming, as I do not have that. I’m looking for KISS (Keep It Simple Stupid).
Does anyone have any thoughts: directions to explore, specific pieces of hardware or software, sources/people to speak with?
Thanks,
Joel
I am starting composition on a commission for a double concerto (viola, cello, chamber orchestra) being premiered next March. I want to augment my acoustic palette with some electronics from the pianist doubling on a keyboard (some use of samples to augment percussion etc., some use of more electronic synth sounds, including some EDM-like sounds). I have not done this before, and it is not my forte, but it is absolutely necessary for this piece. So the question is: what's the best, most “idiot-proof” way of doing this (for both me and well as future performers)? As an example, I will be having the string soloists use guitar pedals for the last movement that requires electronics (reverbs, distortion, tuning, delay): once we all know the pedal, it is pretty idiot proof. So instead of using Max or laptops it’s… Pedals.
I will not be working with cutting edge new music ensembles on this project, so I have to assume the pianists will not be a tech wizards with their own rigs, and resident sound engineers, but pianists playing in the orchestra. That’s part of why I want to make this simple and “idiot-proof.”
I know there were issues with John Adams’ works in the 1990's when he used specific hardware - keyboards/synths - that went out of production and in some cases the patches were no longer readily available. I’m not sure how that has been solved for current times.
I’m guessing there are 3 possible routes:
1. hardware 1: What Adams did, a keyboard with a sound module and an amp (I guess you send the keyboard with score and parts)
2. Hardware 2: someone suggested buying a current hardware sampler (!), load the sounds needed, and using that with a keyboard controller and an amp (I guess you send the controller with score and parts)
3. Software, a laptop, and a controller and an amp. Maybe using Kontakt in stand-alone mode since it’s pretty common?
4. Someone recently suggested I look at MainStage. I don’t know it, but are there benefits to that?
I’m not looking for complex, real-time changing effects that would require IRCAM-like knowledge and programming, as I do not have that. I’m looking for KISS (Keep It Simple Stupid).
Does anyone have any thoughts: directions to explore, specific pieces of hardware or software, sources/people to speak with?
Thanks,
Joel