Table of Contents
List of illustrations xix
Preface xxv
Acknowledgements xxvii
Introduction 1
1 General advice 8
1.1 The concept 8
1.2 Confidence and preparation 9
1.2.1 Effective rehearsal 9
1.2.2 Dealing with stage fright 9
1.2.3 Stepping into the performance persona 10
1.2.4 Using feedback and being prepared for rejection 10
1.3 Quality of the production 11
1.4 Factors that determine the setup choice 11
1.4.1 The music - genre and composition 12
1.4.2 The act - personality, motivation, and skills 12
1.4.3 Band members and skills 13
1.4.4 The performance situation 13
1.4.4.1 The audience 13
1.4.4.2 The venue and playback system 14
1.4.4.3 Risk 14
1.4.4.4 Budget 14
1.4.4.5 Need for portability 14
Tutorial and takeaway points 14
Notes 15
2 DAWs and controllers 16
2.1 Non-linearity of time 17
2.2 Overview of performance DAWs 21
2.2.1 Ableton Live 22
2 2.2 Bitwig 22
2.2.3 Maschine 22
2.2.4 Logic Pro 22
2.2.5 Motu Digital Performer 23
2.2.6 FL studio 23
2.2.7 Standalone hardware DAW equivalents 23
2.3 Plugging in hardware 23
2.3.1 Live arrangement 25
2.3.2 One-shots and finger-drumming 27
2.3.3 Performing on software instruments 27
2.3.4 Controlling audio effects 27
2.3.5 Other external hardware 29
2.4 Prepared musical material and live recording 29
2.5 Collaboration 30
2.6 Randomness and generative approaches 30
2.7 Customizing the performance interface 30
2.8 Performing live in more studio-oriented DAWs 31
2.9 Working with visuals 31
2.10 Recording the show 31
Tutorial 32
From a complex studio production to an intuitive live set 34
Looping clips 34
One-shots 37
Follow actions 37
Live effects 38
Live keys and vocals 38
Visuals 39
2.11 Takeaway points 39
Notes 39
Interview Robert Henke 40
3 MIDI and CV performance controllers 49
3.1 CV/GATE 49
3.2 The MIDI protocol 50
3.2.1 MIDI messages in the MIDI 1 protocol 51
3.2.2 MIDI 2.0 53
3.3 Types of performance controllers 53
3.3.1 Buttons 54
3.3.2 Continuous signals: knobs, faders, sliders 54
3.3.3 Controllers that resemble traditional musical instruments 55
3.3.4 Modular controllers 56
3.3.5 Motion-controlled performance hardware 56
3.3.6 Turning non-musical hardware into MIDI controllers 58
3.3.7 MIDI Polyphonic Expression 59
3.3.8 Sequencers 60
3.3.9 Clock signals and MIDI routing 61
Tutorial 61
3.4 Takeaway points 64
Notes 64
4 DJing and tumtablism 65
4.1 A short history of DJing 66
4.2 Types of DJ in the present day 68
4.2.1 Touring artist-DJs 68
4.2.2 Resident DJs 68
4.2.3 Mobile event DJs 68
4.2.4 Radio DJs 69
4.2.5 Online DJ-producers 69
4.3 DJ techniques 69
4.3.1 Mixing techniques and tumtablism 69
4.3.2 Virtuoso tumtablism 70
4.3.3 Effects and audio processing 70
4.3.4 Programming 70
4.4 DJ tools available today 71
4.4.1 DJ software and hardware controllers 72
4.4.2 CDJs 72
4.4.3 Going retro: using vinyl for DJing 73
4.4.4 Headphones, monitors, and microphones 73
4.4.5 Streaming tracks from online platforms 74
Tutorial: three DJ setups presented by Dan Murray 74
Preparation 74
DJ skills and techniques 75
Beatmatching on vinyl 75
Getting creative on CDJs 76
Working with a hybrid setup 77
Performance styles 77
4.5 Takeaway points 78
Notes 78
Interview Alex M.O.R.P.H. 79
5 Incorporating acoustic instruments and vocals 87
5.1 Traditional instruments in electronic music 87
5.2 Fusion genres 89
5.3 Live instruments and vocals that are not on the record 90
5.4 Instruments that are on the record but not on stage 91
5.5 Microphones and D1 boxes 91
5.6 Effects and sound manipulation 92
5.6.1 Vocal effects processing 93
5.6.2 Vocoders and talk boxes 93
5.6.3 Effects for other instruments 94
Tutorial: generated live vocal harmonies, violin and synth 94
5.7 Takeaway points 96
Notes 96
Interview Matt Robertson 97
6 Live synthesis and sound design 107
6.1 Synthesis technology 107
6.1.1 Synthesis techniques 109
6.1.1.1 Additive synthesis 109
6.1.1.2 Subtractive synthesis 110
6.1.1.3 FM synthesis 110
6.1.1.4 Waveshaping synthesis 110
6.1.1.5 Sampling 110
6.1.1.6 Granular synthesis 111
6.1.1.7 Wavetable synthesis 111
6.1.1.8 Physical modelling synthesis 111
6.1.2 Controls typically found on commercial synthesizers 112
6.1.2.1 Oscillators 112
6.1.2.2 Amplifier 113
6.1.2.3 Amplitude envelope 113
6.1.2.4 Filters 113
6.1.2.5 Modulation 114
6.1.2.6 Clock 114
6.1.2.7 Effects, sequencing, and arpeggiators 114
6.1.2.8 Playback controls 115
6.2 A rich history of artists shaping their sound through synthesis 115
6.2.1 Retro-leaning synths used by current artists 116
6.3 A brief history of sampling 117
6.4 Using synths and samplers on stage 119
6.4.1 Playing live on hardware synthesizers and samplers 119
6.4.1.1 Choosing hardware synths 119
6.4.1.2 Working with pre-programmed sequences 120
6.4.1.3 Modular synthesizers on stage 121
6.4.2 Performing live with software synthesizers 122
Tutorial 122
6.5 Takeaway points 124
Notes 124
7 Performing without a laptop 125
7.1 Building blocks of a laptop-free setup 126
7.1.1 Sound sources 126
7.1.2 Control signal generators 128
7.1.2.1 Clock signal generators 129
7.1.3 Control signal routing tools 129
7.1.4 Sound processors and effects 130
7.1.5 Mixers 131
7.2 All-in-one hardware tools 132
7.3 Cabling and connections 132
Tutorial: a modular synthesizer setup (Matt Gooderson) 133
Modular systems 134
Components of the hardware setup 134
Melody 134
Rhythm 134
Sound sources 135
Utility modules 137
Multiple 137
Quantizer 137
Sample and hold 138
Mixer 139
Audio modifiers 139
Composition and performance 139
7.4 Takeaway points 140
Notes 140
8 Programming custom performance tools 141
8.1 Getting started with programming 142
8.1.1 What is a program? 142
8.1.2 What programming language should you learn? 145
8.2 Inspiring artist examples 147
8.2.1 Complete playback solutions 147
8.2.2 Effects plug-ins and software instruments 148
8.2.3 Expanding the functionality of hardware 149
8.2.4 Automatic performance tools 149
8.2.5 Letting the outside environment control the sound 151
Tutorial: introducing BBC R&D's Audio Orchestrator, featuring Jon Francombe and Stephen Davismoon 151
How does Audio Orchestrator work? 152
The Sequences page 153
The Controls page 154
The Audio page 154
The Appearance page 155
The Export page 155
8.3 Patch It: modular music programming environments 157
8.3.1 Max 157
8.3.2 Pure Data 157
8.3.3 Other node-based programming environments 158
8.3.4 Node-based programming in action 158
8.3.4.1 Effects processing 159
8.3.4.2 Generative music 159
8.3.4.3 Sampling and sequencing 160
8.3.4.4 Working with external hardware 160
8.3.4.5 Theatre shows 161
Tutorial: generative music in Max, featuring Francesc Moya Serra 162
First steps and audio output 162
Metronome and timing 163
Sound triggering with the select object 164
Using MIDI notes to perform on a VST synth 165
Random pitches in a subpatch 166
Adding further complexity 166
Random note velocities and durations 167
Modulating synthesis parameters 169
Fitting the random note pitches to a musical scale 170
Percussion 171
The performance GUI 173
8.4 Live coding: making EDM with algorithms 173
Tutorial: an introduction to SuperCollider, featuring Eli Fieldsteel 174
The interface 175
Getting started 177
Oscillator UGens 177
Cross-fading between sounds 180
Working with pre-recorded audio samples 180
What else is possible in SuperCollider? 183
8.5 Takeaway Points 183
Notes 183
Interview Holly Herndon 185
9 Building custom hardware tools 193
9.1 New instruments built from scratch 193
9.2 The human body as musical instrument 195
9.3 Adding functionality to existing instruments 196
9.4 Performing music on toys and household items 196
9.5 How can you get started? 197
Tutorial: Optical Theremin inside a Game Boy Shell with R41NBOW TR4$H (Dominique Pelletier) 199
What you will need 200
Casing 200
Electronics 200
Testing connections 201
Soldering connections 202
Closing up the case 202
Other things you can do 202
9.6 Takeaway points 203
Notes 203
10 The performance setting 204
10.1 Common live sound technology 204
10.2 The soundcheck 205
10.3 Live sound mixing 206
10.4 Spaces 206
10.4.1 Arenas and stadiums 206
10.4.2 Large Festivals 208
10.4.3 Nightclubs 209
10.4.4 Warehouse raves 210
10.4.5 Concert halls 210
10.4.6 Outdoor theatres 211
10.4.7 Small and intimate shows 211
10.4.8 Controlled acoustic spaces 212
10.4.9 Installations 213
10.4.10 Remote settings and streaming 213
Tutorial: a large redundancy playback rig, featuring Steven Massey 214
Stems for playback 215
Uninterruptible power supply 215
Redundancy playback rig 216
Output routing via a split rack 216
The monitor mix 216
The live mix 217
10.5 Takeaway points 218
Notes 218
Interview Laura Escudé 219
11 Stage design and visual parameters 227
11.1 Tools for creating visual interest 228
11.1.1 Moving visuals 228
11.1.2 Lighting 229
11.1.3 Dancing and acting 229
11.1.4 Fashion 230
11.1.5 Stage design 231
11.2 What determines the choice of visual stage parameters? 231
11.2.1 Artist identity 231
11.2.2 Visual parameters that convey a narrative 233
11.2.3 Creating an abstract connection between what is seen and heard 233
11.2.4 Amplifying performance parameters 234
Tutorial 235
11.3 Takeaway points 236
Notes 237
12 Planning and promotion 238
12.1 Music branding principles 238
12.1.1 Artist identity 239
12.1.2 Target audience 241
12.2 Creating marketing materials 242
12.2.1 Visual materials 242
12.2.2 Biography 243
12.2.3 Press release 243
12.2.4 Website 244
12.2.4.1 A clear representation of the artist image 244
12.2.4.2 Layout and content 244
12.2.4.3 Search engine optimization 245
12.2.5 Social media 245
12.2.6 Hardcopy marketing materials 246
12.3 Networking and gig opportunities 246
Tutorial: music industry Dos and Don'ts presented by Woody van Eyden 248
Where am I now? 249
Where do I want to be? 249
What do I need to do to get there? 249
Who can help me? 249
What should I do in terms of networking? 249
12.4 Takeaway points 249
Notes 250
13 Conclusion 251
13.1 What do electronic musicians do on stage? 251
13.2 What constitutes a great electronic music performance? 252
13.3 How do I choose the concept for my show? 252
13.3.1 A compelling performance persona 253
13.3.2 Virtuosic skills 253
13.3.3 Technical know-how 253
13.3.4 A compelling performance setting 253
13.3.5 Liveness 253
13.3.6 Core values 254
13.3.7 Visual interest 254
13.4 What does my audience expect? 254
13.5 I am quite shy, but I would like to perform live. What can I do? 255
13.6 I cannot play any instruments or sing. Can I still perform live? 255
13.7 Should I be a solo artist or form a band? 255
13.8 What kind of tools do I need to perform electronic music live? 256
13.9 There are so many different options. What is the right setup for me? 256
13.10 Who creates electronic performance equipment? 257
13.11 Where can I try out and buy performance equipment? 258
13.12 I produce music in a DAW. How can I turn this into a live show? 258
13.13 Should my live show sound like my record? 258
13.14 What does "live" mean? Should every sound be created in the moment or are backing tracks acceptable? 259
13.15 Is it bad to mime and pretend that I am doing something on stage when I am not? 259
13.16 I have never produced any music. Where do I begin? 259
13.17 How should I prepare for my show? 260
13.17.1 Practice 260
13.17.2 Sound check 260
13.17.3 Feedback 260
13.18 How can I find gig opportunities? 260
Thank you! 260
Appendix - Summary table 261
Index 268
