Electronics

The electronic part is a series of sound files triggered in Max (free read-only version available for download). The cues are hit by a musician (a percussionist, an assistant conductor, a sound person, or, if present, the composer) by pressing the spacebar. The electronics part is pre-balanced, but the levels should be carefully mixed by an engineer in the hall throughout the rehearsals and performance. The entire part is designed to be able to work smoothly within a normal orchestral rehearsal period.

Electronics are triggered onstage by a performer. An additional sound engineer is needed to balance the mix from the audience perspective.

There are two main electronic elements to be cued: drones and an “aura”—a prerecorded reverb that augments the live orchestra. They should be balanced throughout: the result is a texture where neither dominates—it should be ambiguous what is electronic and what is live.

The conductor should have a monitor to be able to clearly hear the electronics. The sound engineer should consult the reference recording provided by the composer for balance.

The orchestra does not need to be amplified, but it can help clarify textures, particularly in a large hall. The premiere of the work featured the orchestra slightly amplified. This is not at all necessary but is useful for blending the sounds of the orchestra and electronics in the event that this is possible.