From the mailbag:
I was wondering if you could advise me briefly on how complicated it is to compose music on garageband. I don't mean the musical side of it, but the technical side. I'm asking on behalf of my 82-year-old father who composes piano music for pleasure in his retirement, writes it painstakingly the old-fashioned way, and records it to an archaic cassette deck left over from the 70s or 80s. I've seen the process demonstrated at an Apple store and it looks amazing, but I wondered how difficult it would be for my father to master. We are both Mac users; I am reasonably adept, but no genius (and no composer!), and he is amazingly adept for a recent convert. I'd just love to see him be able to print his sheet music easily and make MP3s of his recordings to send to friends and family. Do you think it's realistic to encourage him to invest in a decent electronic keyboard and try this?
Thanks very much for your time,
Heidi
Hey there Heidi,
Thanks for your email. So, I think you should indeed encourage your dad to use Garageband - it is very intuitive, has built-in instrument sounds (that actually sound very good), and is free(!). Garageband itself is simple for most users, but it is geared mostly for loop-based popular music. You can used it very easily for more traditional music composition, and I think your dad might find it much more easy to get his ideas down than when using pen-and-paper and cassette tapes, but it will take some getting used to.
A portable USB-powered keyboard is fairly inexpensive (i would recommend this one for its price-to-feature ratio: http://www.zzounds.com/item--MDOOXY61, $170, 61 keys; fewer-key models cost less), and very portable. Since they are powered by the computer, they are very convenient, but they make no sound on their own. Given what you describe his interests to be, I think they are a good bet.
Of course, I'd always consider the possibility that he LIKES to compose the old-fashioned way :)
Hope this helps.
Showing posts with label Electronic Music. Show all posts
Showing posts with label Electronic Music. Show all posts
Monday, July 05, 2010
Sunday, January 17, 2010
Playing Ten Children with live electronics instead of tape
From the mailbag: I was looking to perform some (or several) of your compositions, particularly Drift and Ten Children. I was wondering if you could tell me what I would need in order to perform them the same way you perform them instead of with the tape accompaniment. Thank you very much.
So, I'm going to make a video for the site to show all the gear I use, but until I get around to doing that, this post will have to suffice...
First of all, you need a "basic" electronic music computer setup like mine:
Then you'll need the software & plugins:
The rest of what I use is optional, really.
I guess the reason I don't make these non-tape versions available to people is that there is a LOT of troubleshooting that needs to go on in order to get things working with each particular setup. For example, everyone has a different footpedal, so I would have to reprogram that part of every movement to handle that; everyone has a different audio interface, so the levels need to be optimized, etc. etc. Basically, It'd be too big of a pain for me to do it, so I don't. That said, if you're ever in NYC, you got all the necessary hardware/software and you want me to set your machine up, I might be persuaded...
Like I said though, stay tuned. I will try to get a video "tour" of my setup up on the site asap.
So, I'm going to make a video for the site to show all the gear I use, but until I get around to doing that, this post will have to suffice...
First of all, you need a "basic" electronic music computer setup like mine:
- MacBook (probably pro, but I think you can make do with a non-pro)
- Audio Interface with at least two inputs
- Instrument Microphone
- Vocal Mic (like an SM58 or something better)
- Foot pedal (something simple)
Then you'll need the software & plugins:
- Max 5
- WaveArts TrackPlug & Masterverb (you'd choose "power suite custom duo" here)
- Voxengo's LF Max Punch
The rest of what I use is optional, really.
I guess the reason I don't make these non-tape versions available to people is that there is a LOT of troubleshooting that needs to go on in order to get things working with each particular setup. For example, everyone has a different footpedal, so I would have to reprogram that part of every movement to handle that; everyone has a different audio interface, so the levels need to be optimized, etc. etc. Basically, It'd be too big of a pain for me to do it, so I don't. That said, if you're ever in NYC, you got all the necessary hardware/software and you want me to set your machine up, I might be persuaded...
Like I said though, stay tuned. I will try to get a video "tour" of my setup up on the site asap.
Thursday, April 02, 2009
Playing Electronic Music, part 2
Computer Music, once limited to universities with large budgets, has become much more prevalent in the past fifteen years, mainly because of the development of low-cost and mass-produced microprocessors.
Needless to say, to begin, you'll need a computer. Up until about eight years ago, the issue of "PC vs. Mac" was a real one. Nowadays, most software is available cross-platform. Still, I use, and recommend the Macintosh platform, using OSX.4 or OSX.5.
So, what do you need hardware-wise? There are many answers to this, but the most popular (and in my opinion, correct) is "As much as you can afford." This is true in most cases - not just with computers. Buying a lower-priced (and lower powered) computer just means that you need to upgrade sooner, so essentially, it all evens out in the wash. I recommend buying a Macbook Pro for live concerts for obvious portability reasons. Why a pro? Because, as of this writing, the non-pro version does not have a separate video card, but rather shares the processing with the main CPU. If you have any interest now or in the future to do anything with video, you'll pretty much be out of luck for anything but the most rudimentary video processing. Other considerations are getting as much RAM as you can (within reason), a large, and fast, hard drive (5400 RPM minimum, but most people go for the fast 7200 RPM drives for live audio), and if you need it, Firewire ports. More on that in a sec.
The main software package I use is Cycling74's Max/MSP (www.cycling74.com -- download for a free 30-day trial). Currently this software package is about $500, and it is by far the most flexible computer music program I've ever used. If you are a composer, you can create looping devices, effects plugins, samplers, synthesizers, interactive video, you name it. The downside: it's pretty heavy math- and programming-wise. Nevertheless, many composers have created pieces using this software that don't require you to purchase it, nor how to program in it. But, if you have any interest in computer music composition, you'll definitely want to check this software out. Other software you'll want to consider is Ableton Live for looping and loop processing, effects processing and improvisation-based pieces. Since the mac comes with Garage Band software, you'll have a simple recording/editing suite available to you, which you can upgrade to Logic if you need more power -- and the skill set pretty much transfers because Apple has based Garage Band on Logic, so they operate with the same basic paradigm.
OK, so back to the hardware. In order to get sound in and out of the computer, you'll likely want to have a sound interface of some sort. Many popular - and less expensive - of these interfaces are USB-based. They are often under $200, and they allow you to plug in a microphone to get sound in, and an amplifier to get sound out. USB interfaces used to not have the same throughput as Firewire interfaces, but that is no longer the case. Indeed, as Apple begins to abandon Firewire on their non-pro models, your computer will likely make the decision for you in terms of which to go with. Format aside, the most important feature you'll want to look at is high-quality microphone preamps. The lower-end interfaces have, well, lower-end preamps, and your sound quality will really suffer. You will notice that the "bass" end of your instrument sounds thin, and the midrange notes will sound strident or bright and tinny. I had one and I had to get rid of it. I sold it to a flutist... A popular unit is the Mark of the Unicorn (MOTU) Ultralite (firewire) This interface is about $400 or so, and has a good balance between size (it's a 1/2-space rack unit) and quality. Personally, I use the German-made RME Fireface 400 which has superior specs in terms of sound quality and noise. With this unit, I have 36 channels of input/output (8 of them via ADAT optical) with 2 mic preamps. It sounds great. These days you can find a Fireface for about $1,000. But like I said, there are MANY interfaces and your mileage will vary, both in terms of cost and quality.
Now, when you do a piece of computer music, how does the computer know when to do what - e.g. start the piece? Well, you need to have some means of communicating with the computer, and for that you have a number of choices. For me, I have a touch-screen monitor (thanks EBay!) and a footpedal that I made myself (I wanted something small and light). Others use off-the-rack footpedals or footswitches which are also cheap, plentiful, and good. Still others use mini keyboards (that usually plug in via USB, so you don't need MIDI). There are numerous options, but they all share one thing in common: they are controllers, not sound-creation devices -- i.e. they are not sound generators themselves. Regardless of what you get, suffice it to say, you're going to need something like one of these pieces of gear, or else you're going to have to be in constant contact with your computer with your toes. Of course there are exceptions to this (pieces which don't need user input in the way of "commands" and which just respond to the instrument). But, if you plan on doing any of the majority of works, you're going to need to invest in either a MIDI controller or USB controller. Fortunately, these are not too expensive - many under $150.
Finally, there are specialized pieces of gear that will be required for many pieces. Namely, outboard (i.e. not-inside-the-computer) effects processors, synthesizers or controller devices. Usually, though, the composer will either provide you with this gear, or you might be able to borrow it, or you might be able to replace it with a similar piece of gear. Or, you might just be able to program it into Max/MSP yourself!!
So, to summarize (this is for a decent setup):
Computer $2500
Audio/MIDI Interface: $500
Microphone(s): $800
MIDI controller: $150
(Sound) Monitor: $200
TOTAL: $4150
Since this is a large sum, you can get by without the monitor. That will bring your total to about $3950. A stationary microphone will bring the total down to about $3150. Etc, etc, etc.
Needless to say, to begin, you'll need a computer. Up until about eight years ago, the issue of "PC vs. Mac" was a real one. Nowadays, most software is available cross-platform. Still, I use, and recommend the Macintosh platform, using OSX.4 or OSX.5.
So, what do you need hardware-wise? There are many answers to this, but the most popular (and in my opinion, correct) is "As much as you can afford." This is true in most cases - not just with computers. Buying a lower-priced (and lower powered) computer just means that you need to upgrade sooner, so essentially, it all evens out in the wash. I recommend buying a Macbook Pro for live concerts for obvious portability reasons. Why a pro? Because, as of this writing, the non-pro version does not have a separate video card, but rather shares the processing with the main CPU. If you have any interest now or in the future to do anything with video, you'll pretty much be out of luck for anything but the most rudimentary video processing. Other considerations are getting as much RAM as you can (within reason), a large, and fast, hard drive (5400 RPM minimum, but most people go for the fast 7200 RPM drives for live audio), and if you need it, Firewire ports. More on that in a sec.
The main software package I use is Cycling74's Max/MSP (www.cycling74.com -- download for a free 30-day trial). Currently this software package is about $500, and it is by far the most flexible computer music program I've ever used. If you are a composer, you can create looping devices, effects plugins, samplers, synthesizers, interactive video, you name it. The downside: it's pretty heavy math- and programming-wise. Nevertheless, many composers have created pieces using this software that don't require you to purchase it, nor how to program in it. But, if you have any interest in computer music composition, you'll definitely want to check this software out. Other software you'll want to consider is Ableton Live for looping and loop processing, effects processing and improvisation-based pieces. Since the mac comes with Garage Band software, you'll have a simple recording/editing suite available to you, which you can upgrade to Logic if you need more power -- and the skill set pretty much transfers because Apple has based Garage Band on Logic, so they operate with the same basic paradigm.
OK, so back to the hardware. In order to get sound in and out of the computer, you'll likely want to have a sound interface of some sort. Many popular - and less expensive - of these interfaces are USB-based. They are often under $200, and they allow you to plug in a microphone to get sound in, and an amplifier to get sound out. USB interfaces used to not have the same throughput as Firewire interfaces, but that is no longer the case. Indeed, as Apple begins to abandon Firewire on their non-pro models, your computer will likely make the decision for you in terms of which to go with. Format aside, the most important feature you'll want to look at is high-quality microphone preamps. The lower-end interfaces have, well, lower-end preamps, and your sound quality will really suffer. You will notice that the "bass" end of your instrument sounds thin, and the midrange notes will sound strident or bright and tinny. I had one and I had to get rid of it. I sold it to a flutist... A popular unit is the Mark of the Unicorn (MOTU) Ultralite (firewire) This interface is about $400 or so, and has a good balance between size (it's a 1/2-space rack unit) and quality. Personally, I use the German-made RME Fireface 400 which has superior specs in terms of sound quality and noise. With this unit, I have 36 channels of input/output (8 of them via ADAT optical) with 2 mic preamps. It sounds great. These days you can find a Fireface for about $1,000. But like I said, there are MANY interfaces and your mileage will vary, both in terms of cost and quality.
Now, when you do a piece of computer music, how does the computer know when to do what - e.g. start the piece? Well, you need to have some means of communicating with the computer, and for that you have a number of choices. For me, I have a touch-screen monitor (thanks EBay!) and a footpedal that I made myself (I wanted something small and light). Others use off-the-rack footpedals or footswitches which are also cheap, plentiful, and good. Still others use mini keyboards (that usually plug in via USB, so you don't need MIDI). There are numerous options, but they all share one thing in common: they are controllers, not sound-creation devices -- i.e. they are not sound generators themselves. Regardless of what you get, suffice it to say, you're going to need something like one of these pieces of gear, or else you're going to have to be in constant contact with your computer with your toes. Of course there are exceptions to this (pieces which don't need user input in the way of "commands" and which just respond to the instrument). But, if you plan on doing any of the majority of works, you're going to need to invest in either a MIDI controller or USB controller. Fortunately, these are not too expensive - many under $150.
Finally, there are specialized pieces of gear that will be required for many pieces. Namely, outboard (i.e. not-inside-the-computer) effects processors, synthesizers or controller devices. Usually, though, the composer will either provide you with this gear, or you might be able to borrow it, or you might be able to replace it with a similar piece of gear. Or, you might just be able to program it into Max/MSP yourself!!
So, to summarize (this is for a decent setup):
Computer $2500
Audio/MIDI Interface: $500
Microphone(s): $800
MIDI controller: $150
(Sound) Monitor: $200
TOTAL: $4150
Since this is a large sum, you can get by without the monitor. That will bring your total to about $3950. A stationary microphone will bring the total down to about $3150. Etc, etc, etc.
Tuesday, March 31, 2009
Playing Electronic Music, part 1
These days, tape pieces are relatively low-tech. Just about everywhere you go there is at least some sort of PA system with a CD player. At the very least there will be a stereo system. I've chosen to go the route where I bring everything along with me but the amp and speakers, though many others simply bring a CD that they can provide the sound guy. The reason for my preference is simply that I want to be able to control when the tape starts, to control the balance between the bass clarinet and the tape (I use a microphone -- more on that later) and the volume of my monitor.
A bare minimum: CD or iPod and cables to plug it in. The cable you'll need is one with an 1/8" plug at one end (for the ipod) and a stereo RCA (or better, 1/4" plug) on the other. Most venues don't have the adapters. This cable is less than $10 at Radio Shack. Total cost: $10 or less.
From there, you might want to have a decent microphone. Why? In order to mix your sound with the CD/iPod, you need to amplify yourself. That way, you can boost the tape part without drowning out the live part. It also blends your acoustic sound with the tape before it goes into the hall. It should be one of your first purchases. My personal favorite is the bass clarinet model form AMT (www.appliedmic.com). Those run about $800, but there are others, including stationary mics (i.e. not clip-ons) which are less expensive. Fortunately great microphones -- especially ones built in China like SE Electronics -- are amazingly cheap: less than $500. Many are even cheaper. But you'll want to get one that has a "cardioid" or "hypercardioid" pattern, since those are more appropriate for live contexts; omni pattern microphones will feed back much more easily. You might also need a cable and a mic stand, though those are ubiquitous in most venues.
Microphones that attach to the bass clarinet are, for me, more appropriate because I tend to be more, uh, "active" onstage. Since I stand when I play solo, I don't want to have to be tethered to one location because of the position of a stationary microphone. Just something to think about for yourself: do you want to always stand in the same place, or do you want the freedom to move about - say if you're playing a piece which requires multiple stands and you need to progress from left to right.
A small mixer is becoming less important, especially if you are planning to purchase a computer and audio interface, since much of the mixing can happen inside the computer nowadays. If you choose to get a small mixer, a Mackie 12-channel ($369) is the one of the more popular. They are inexpensive, sound good and are built like a tank. If you choose to go smaller and a bit lower quality, you can get one from Behringer or Alesis for as low as $100. You would plug the mic and CD player into the mixer, which would plug into the PA system. You could add a small monitor so that you can hear the tape part better. A good monitor should be small, light and self-powered. The Yamaha MSP5 is great, but heavy. ($250). Another choice is the Yamaha MS101 ($130) which is much lighter but is not as powerful. Often a venue will have a dedicated monitor for you to use, but just as often, they don't (or it sounds dreadful). For me, it's better to be on the safe side.
Summary (these are minimums):
CD player or iPod: $100-200 (but you probably already have one, right?)
Microphone: $200
Mixer: $60
Monitor: $130
TOTAL: <$600
So, these are the basics.
If you want to go all-out, check out the main site to see what my current rig looks like.
Michael Lowenstern
Earspasm Music
A bare minimum: CD or iPod and cables to plug it in. The cable you'll need is one with an 1/8" plug at one end (for the ipod) and a stereo RCA (or better, 1/4" plug) on the other. Most venues don't have the adapters. This cable is less than $10 at Radio Shack. Total cost: $10 or less.
From there, you might want to have a decent microphone. Why? In order to mix your sound with the CD/iPod, you need to amplify yourself. That way, you can boost the tape part without drowning out the live part. It also blends your acoustic sound with the tape before it goes into the hall. It should be one of your first purchases. My personal favorite is the bass clarinet model form AMT (www.appliedmic.com). Those run about $800, but there are others, including stationary mics (i.e. not clip-ons) which are less expensive. Fortunately great microphones -- especially ones built in China like SE Electronics -- are amazingly cheap: less than $500. Many are even cheaper. But you'll want to get one that has a "cardioid" or "hypercardioid" pattern, since those are more appropriate for live contexts; omni pattern microphones will feed back much more easily. You might also need a cable and a mic stand, though those are ubiquitous in most venues.
Microphones that attach to the bass clarinet are, for me, more appropriate because I tend to be more, uh, "active" onstage. Since I stand when I play solo, I don't want to have to be tethered to one location because of the position of a stationary microphone. Just something to think about for yourself: do you want to always stand in the same place, or do you want the freedom to move about - say if you're playing a piece which requires multiple stands and you need to progress from left to right.
A small mixer is becoming less important, especially if you are planning to purchase a computer and audio interface, since much of the mixing can happen inside the computer nowadays. If you choose to get a small mixer, a Mackie 12-channel ($369) is the one of the more popular. They are inexpensive, sound good and are built like a tank. If you choose to go smaller and a bit lower quality, you can get one from Behringer or Alesis for as low as $100. You would plug the mic and CD player into the mixer, which would plug into the PA system. You could add a small monitor so that you can hear the tape part better. A good monitor should be small, light and self-powered. The Yamaha MSP5 is great, but heavy. ($250). Another choice is the Yamaha MS101 ($130) which is much lighter but is not as powerful. Often a venue will have a dedicated monitor for you to use, but just as often, they don't (or it sounds dreadful). For me, it's better to be on the safe side.
Summary (these are minimums):
CD player or iPod: $100-200 (but you probably already have one, right?)
Microphone: $200
Mixer: $60
Monitor: $130
TOTAL: <$600
So, these are the basics.
If you want to go all-out, check out the main site to see what my current rig looks like.
Michael Lowenstern
Earspasm Music
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