Overview

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

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Note on electronics

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

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

Stage disposition & optional amplification

The orchestra does not need to be amplified, though light reinforcement can help clarify textures, particularly in a large hall. The premiere featured the orchestra slightly amplified. This is not necessary, but it is useful for blending the orchestra and electronics where possible.

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