Advanced Practice and Enterprise 

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Introduction

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The aim for this performance was to combine electronic music with live drums, creating a real-time sonic experience. This project was inspired by artists such as Church Andrews as well as an Ableton Live tutorial on using audio effects racks. This project has allowed me to expand on my live performance capabilities as an electronic artist and challenge my own individual techniques on composing. The concept behind the project was to create a piece that evoked contrasting emotions through the use of audio processing and the more traditional dynamic playing.

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Performance Material

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In the initial stages of planning this project, I was excited about MIDI mapping the drums to Ableton and working on specific processed percussion sounds. However, this became more challenging in the compositional stage since there needed to be room for other instruments and most of the processing of the drums that I had begun started to take up a lot of space especially in the higher frequencies above 5,000kHz. After learning this, I began to work backwards and decided to only use the drum effects after the composing stage was over. This meant that we would only be adding to the layers that we had already created and therefore was easier to stick them into a key and connect them to the main rhythm of the piece. Working in this way led me back to my research and is highlighted in this point by George Crumb: It is obvious that the electronic medium in itself solves none of the composer's major problems, which have to do with creating viable style, inventing distinguished thematic material, and articulating form" Crumb (2011).I could strongly relate to this at this stage pf the project since the music I had started to create lacked any traditional musical form and was mostly crafted sounds using 'Wavetable' and the 'Arpeggiator' MIDI effects plugin.

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Since this piece mostly evolved around using live drums. I had to think about how the drums would sound, and after watching some videos online I found that using tea towels to dampen the snare suited the style of the music and created the fast paced, snappy sound that I was looking for. This sound was actually inspired by Church Andrews. You can hear how dry their kit sounded:

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I knew that I would be using Splice to source samples that I could use and manipulate to create percussive sounds that could be later used as either triggers or instead as a rhythmic synth element gated around the peaks of the kick or snare microphone audio signal. This is something I developed once I had begun to mic up my drum kit. 

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To be able to actually use these triggers in Ableton I had to search for plugins that were specifically made for this purpose. I eventually found one online called Trigg.Me that allowed me to drag in a trigger and send plugin extremely easily. I had issues with some latency at first but eventually managed to fix that issue by changing the sample rate and buffer size. 

 

I was going to use soundscapes throughout the song that helped the feeling of the song tie in with its emotion. These soundscapes I chose to use were a thunderstorm and the sounds of birds in a forest. Along with the soundscapes. I also sampled some bubble wrap being popped which I put into 'Simpler' and processed the sounds filter to make it sound more percussive with a little bit of drive and resolution. I then found a section of the sample which followed the same rhythmic pattern of the track and recorded it on my MIDI keyboard to the track.

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I also had to bring in another element to enhance the actual performance and also incorporate a bit of a backbone to my electronic performance. I did this using the Moog Grandmother, a semi-modular analogue synthesiser. With the Moog, I knew that I could create a nice Bass sound which I could either play live or sample and manipulate to use within the track. 

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As for a controller I opted to use the Akai LPD8 since I knew that this controller would work well with Ableton, and I could easily use the audio and MIDI effects racks' macros which I was using to effect the synthesisers that I had programmed. I had used this small MIDI controller before, and I really loved its simplicity.

 

 

 

 

 

 

 

 

 

 

 

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Technology Development and Delivery

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The stage setup was reasonably simple. There was a rectangular space which included a large desk for each performer to place all their hardware and assumably laptops. One challenge that I faced was getting a whole Drum Kit onto the stage since it was a fairly small venue and pretty small stage. However, we made this work by having the kit to the (left side audience and right side performance) side of the stage which was helpful for when I had to cue my drummer. I also had to find a space for my Moog, so I also had to place this to same side so that I was facing my drummer still. I have learnt how important stage setup is for live music performance and the consideration that each performer and their instruments needs with regards to space and mobility.

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The setup included going from laptop to an audio interface, from the audio interface into a mixing desk and from the mixing desk into the PA system. There was an instrument line out from the Mood that went into the interface as well as a microphone that was picking up the drum kit also going into mic out in the interface. Before the performance started, I had to configure this in Ableton which meant changing the project. To do this I just selected the correct channel and selected which inputs I was using in the interface. 

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The MIDI routing that I had made for the intro included using the Akai LPD8. This was because I had mapped eight macros to the eight knobs that you get on this controller. I opted not to use the push to eliminate any complications from using too many devices. In the end, I only used the Akai LPD8 as a controller in the intro of the song and for the rest, I used my laptop since I knew I was only going to be bringing down some levels and just keeping track of where I was in the song. This was something that I felt was necessary because I knew that I would have to be focusing on the Moog for most of the performance.

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In leading up to this performance. I wanted to make sure that we had a video of the rehearsal that we could show. The setup was almost exactly the same as the performance apart from using an interface which was a simple mistake of not bringing enough cabling and something that I need to be more on top of in the future.

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Development Log/Context

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In relation to the cultural and social background of this performance. It mostly plays on the difficulties of living in London as a musician. 
For working-class musicians and music students, navigating the music industry and being financial stable seems like an impossible dream Despite a good amount skill and dedication, we often find ourselves having to deal with the harsh reality that we might only ever be trying to make ends meet in this expensive city. With the high cost of living and so much competition for gigs and recognition, we face a constant uphill battle (The Guardian, 2024). Many of us have to work multiple jobs or gig relentlessly just to cover basic expenses, leaving little time and energy to work efficiently or focus on making our own music when we do suddenly have the time, such as during Covid for me; which was the most productive and creative I have ever been. There also seems to be very limited access to resources and industry connections which can be hard for some musicians that have had little confidence in the past such as myself and my peers at university. However, I do feel there is some light at the end of the tunnel and that the technology degree can lead in many other directions away from just music performance, such as making sound for film and game or working as an engineer in a studio which I have been lucky enough to experience. 

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Last summer I was lucky to travel with the band 'Two Headed Horse' to 'Ox4 sound' studio in Oxford. This studio was built and is also run by Mark Gardener of Ride. Whilst working for two days on our EP, I helped out with some of the sound engineering which led to getting myself into another studio session with Mark more recently. After the release of this EP, we then began to play more gigs in London as a quartet which included drums, bass, guitar/synth and Vocals. We hosted our show at Morocco bound bookstore in Bermondsey and also played as a support act at the Troubadour in Earls Court. All these experiences as well as playing my own electronic music gigs with my fellow student Mattia Taraschi as part of 'Twisted Neck'; were all extremely valuable and eye-opening.

 

Working with Mark Gardener in a professional environment inspired me to use more hardware and live instruments. And another fellow electronic music producer and well-rounded technician that inspired me for this performance and previous performances, is Michael Popadopoulos. Michael helped me with the setup for this performance and showed me the many ways to use audio effects racks with microphone placements using Ableton.

 

Lastly, as I have mentioned before, seeing the Church Andrews and Matt Davies performance at Cafe OTO on the 1st of February 2024, inspired this performance hugely. I already knew that I wanted to try something with a drummer and use more hardware, but this show gave me so much to work with with regards to sound and setup that I almost lost some authenticity and tried to replicate it too much. Matt Davies (drummer) plays with a very modified kit that has microphones placed in and around it. He uses cymbal stack and tea towels as other specifically well-placed percussive elements like small bells and woodblocks or chimes. Church Andrews uses the Akai MPD 226 MIDI controller and the Roland RT-30 drum trigger (Patch Notes: Church Andrews & Matt Davies, 2020). Having looked into these bits of hardware, I would certainly like to invest in some of them for the future. However, the most I could in regard to the drum kit setup was to place the tea towels down and similarly place small bit of percussion for the drummer to play.

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Personal Development and Reflection

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This project has taught me many different things that I will take with me going into the future. Firstly, that I should be more open to collaborate with other musicians as it builds confidence in my ability, as well as the confidence to explain what the context of the song is to an audience member since you naturally exert this to anyone you get to play your music. Secondly, that I should invest what little money I have into some hardware that I can practice playing in live scenarios. I have been looking into larger MIDI controllers for example and this will give my production my life in the recording stages since you are actively manipulating the effects with the controls rather than in automation which is something I would like to get out of the habit with. And lastly, I would like to spend more time in the studio to make sure that the songs I am performing sound good in a live setting. This means making sure that I am producing with better plug-ins, more organic sounds, better monitors and better instruments if necessary. I am very happy with direction that my music and my live performance is going on and I aim to release an electronic EP this Winter which I have already begun working on, using everything that I have learnt from the last three years at University. 

 

I would like to thank Tony Nwachukwu, my lecturer for this module, for all of his hard work and dedication to our futures and careers in the music industry; and for his unwavering commitment to making these shows work for every level year after year, even after so many setbacks and obstacles. It has been these kind of professionals and mentors that has kept my experience as a music student thriving and inspired. 

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Reference List:

• Wray, D, D (Thu 25 Apr 2024 10.39 BST) ‘The working class can’t afford it’: the shocking truth about the money bands make on tour Retrieved: 30th April 2024

• 180 Fact, Patch Notes: Church Andrews & Matt Davies (2021), URL: https://www.youtube.com/watch?v=S3PosWJqA1M&t=149s Accessed: 2nd May 2024

 

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