All posts by joowonpark

How To Do An Electronic Ensemble Concert

Performances, Research, Teaching

An electronic ensemble concert presents uniquely electronic music performed by many musicians. Like all live music events, performers and audiences get experiences they can not get from recorded or streamed media in an electronic ensemble show. It takes work to organize such an event, but there are common routines. I have been directing the Electronic Music Ensemble of Wayne State (EMEWS) since 2017 and have presented more than 30 concerts with them. I share guidelines for planning, executing, and continuing electronic music ensemble concerts in this article. I also share a budget for starting an electronic ensemble.

My previous blog post, How to Play a Solo Set, outlines the four steps of planning and presenting a solo electronic music performance. 

  1. Decide pieces
  2. Decide the order
  3. Practice transitions 
  4. Practice sound check 

Doing an electronic ensemble concert has similar but different steps. 

  1. Learn the Context
  2. Decide pieces
  3. Rehearse
  4. Decide program order and technology

Preparing for an electronic ensemble concert requires more discipline than preparing for a solo performance because it involves more people, rehearsal time, and equipment. The director needs to make some decisions weeks, if not months, before the show. The first step in making the best decisions is learning the ensemble’s social context. 

Learn the Context

Unlike an orchestra or choir, an electronic ensemble does not have a set instrumentation or time-tested management protocols. The group can take many forms depending on the institutional structure, vision, and budget. The director should learn the pros and cons of the ensemble’s social context for effective and practical programming. I share the case of EMEWS for reference.

Institutional Structure

EMEWS is a semester-long class in a university with 12 registered students. This means that

  • I, as the director and teacher, use the facility and equipment provided by the music department. 
  • As a credited course, I expect new and returning performers every semester. 
  • The concert venue is already set. I will have the opportunity to program at least one concert per semester at a venue I am familiar with.
  • The semester concert should have a different repertoire than the one in the previous semester. 

Vision

My job is to set the direction of the musical style, convince the performers to get immersed in it, and present it to the audience. This means there is a stylistic preference over another for the season. For example, EMEWS has the capacity to play a standard orchestra repertoire using General MIDI, but I do not prefer that. I encourage EMEWS to play music that values the following:

  • Experiment: Try a new repertoire that cannot be presented on other instruments. EMEWS plays unconventional and challenging music that may fail—and that is OK, as many experiments tend to fail. 
  • Liveness: Music technology is more than a recording technology. EMEWS performers learn the here-and-nowness of live performances by playing electronic instruments together.
  • Education: Performers should learn new techniques, get opportunities to refine what they know already, and safely share the sound with their peers in EMEWS. Jamming along to the tunes they already know will hardly achieve the stated goal.
[EMEWS Concert FA2017 at Wayne State University (2017.11.16)]

Budget

The director should know the practical limits, such as performers’ skills and the repertoire’s technological feasibility. With EMEWS, I choose or create pieces that require a minimum number of gears. The extra budget I may get from grants is then used for off-campus concerts and gear purchases.

In sum, my suggestions for running an electronic ensemble are based on my experience in a university course. Not all electronic ensembles are in the same situation. The director should assess the ensemble’s institutional relationships, musical vision, and budget accordingly before working on a concert.   

Decide Pieces

The most challenging aspect of operating an electronic ensemble is building the repertoire. There is no Beethoven’s Fifth equivalent of an electronic ensemble work, yet. Any pieces presented at the concert will likely be new to the audience. It is a relatively uncharted field for composers to write new pieces. 

I aim to premiere one composition at every semiannual EMEWS concert. The rest of the repertoire comes from pieces written by other composers or group improvisations. Some of those pieces are arrangements of existing acoustic compositions. 

A typical EMEWS concert lasts one hour and features three to five pieces. However, the total duration may be shortened or extended at off-campus performances. For example, if invited to a music conference, EMEWS may play one piece, or they may perform a 1.5-hour show as a featured artist in a venue.

Rehearse

Electronic musicians may have less experience in ensemble performance, as many of them start their careers as solo DAW artists. It is important to teach the members that they must practice playing as a group by attending every rehearsal. Even the time spent on non-music-making routines in a rehearsal requires training and refinement.

[EMEWS rehearsal space (2022.11.30)]

I allocate about seven rehearsals, each lasting 2.5 hours, for a concert. In the first weeks of the semester, the ensemble spends about 30 minutes setting up at the beginning and about 10 minutes clearing up at the end. Each member learns how to set up a computer, an amp (EMEWS has one amp per performer), and a MIDI controller (the rehearsal room hosts multiple keyboards and synthesizers). By the mid-semester, it takes about 10 minutes to set up and 5 minutes to strike. The last week of the semester is Spring Cleaning Day: all members tidy up the rehearsal room by untangling the cables, putting back the keyboard stands, throwing away the broken cables, etc. One of the goals in rehearsal should be improving the technical and technological sides of an electronic music performance.

Decide Program Order and Technology

The program order is finalized about a month before the concert. EMEWS presents a Fall or Spring concert during the 8th or 9th week of the semester and usually decides which pieces to include in the concert during the 5th week. The concert program needs to be practical—it must use already available gear, and the time for set changes between the pieces should be as short as possible. For that purpose, a list of questions on necessary technology helps me work on the logistics. 

Laptop ensemble or mixed-instrument? 

Laptop-only electronic ensemble pieces are easier to set up than those involving synthesizers and acoustic instruments. Program the most technologically complicated pieces (ones with many instruments, cables, speakers, and furniture) early in the program. Strike the gear as much as possible between the rest of the pieces for better visuals and performer mobility.

Amplified or unamplified?

More instruments to connect to a PA or house mixer means more power strips, audio cables, and set-up time. Make sure to do a final rehearsal with all the gear present at the same time. If there are enough performers, laptop-only compositions may not require additional amplification. Not being connected to an amp on the stage also allows the performers to move freely. An outdoor performance is also possible without extra set-up. 

[recording session of unamplified laptop ensemble piece (2019.04.03)]

Video projection or no video? 

A repertoire using a video projection needs attention in programming order. Extra set-up time or a stage crew may be needed to test and run the video pieces. If the projector’s fan noise is loud, it should be turned on right before the piece and turned off right after. 

On tour or on campus? 

An ensemble can go all-out in terms of gear for an on-campus show. As long as the performers do not mind the additional setup and strike time, they can use all the gear available. However, it is challenging to carry around big gear on tour. It is wise to minimize the risk and random factors in terms of gear when performing in an unknown venue. 

[EMEWS at the University of Richmond, VA, during the 2019 tour (2019.11.08)]

Startup Budget Consideration

If a reader is interested in starting an electronic ensemble, the first question would be how much it costs to start a group.  I recommend checking the availability of the following starter pack. 

  1. Laptop: One laptop per performer, either PC or Mac, is recommended. Do not worry about what DAW or plugins to purchase; there are free apps and free-to-run laptop ensemble repertoires. If a performer already has a laptop, they could use it as an ensemble instrument. There is no need to use a top-of-the-line computer. I use a $350 PC laptop.
  2. Rehearsal space: The ensemble should secure a room where they can meet regularly. A laptop purchase may be delayed if the ensemble can secure a computer lab. Be aware that there will be loud noises.
  3. Amps and cables: I prefer a cheap, portable amp per performer over one loud PA. A direct audio connection ($7 for 6ft) from the computer’s audio out to the amp’s input bypasses the need for audio interfaces. A mono output to an amp or selecting a channel from a stereo output is fine, in my opinion. EMEWS uses a dozen Roland Micro Cubes (used to be $150) that run on AA batteries. The ensemble sometimes uses a guitar strap on the amp to carry the amp during the performance.
  4. After the laptop, rehearsal space, and amps, buy the gear necessary for the specific repertoire. For the most versatile use, I recommend getting a small, cheap MIDI controller ($100).
[outdoor performance with portable amps and laptops (2022.06.18) ]

The above list also shows the purchasing order. If the budget is tight, secure the laptops first. Once the laptop and rehearsal space are available, the ensemble can begin to play. If the budget is bigger, get the amplification system and cables. Leave some money for perishables, such as batteries and extra cables. They will probably be on demand ten minutes before showtime!

Mirror Tempo – Brief Analysis

Uncategorized

I took a top-down approach in composing Mirror Tempo. I had a musical idea I wanted to hear electronically and wrote codes to realize it. The idea was to create a mirror image of an accelerating ostinato. Since a reflection is an identical but reversed image, the mirrored sound could have a reversed melody and tempo. The perfect mirrored sound should start and finish at the same time as the original, even though one is getting faster while the other is getting slower. The resulting combination should be palindromic. It was difficult to imagine it. I had to write specific instructions to hear the idea.

The following paragraphs analyze the form, code, and musical aspirations in making Mirror Tempo Bell. It teaches how to start and progress a composition from a single synthesized sound. Readers’ learning is most effective when SuperCollider is installed on their computers. Please watch a tutorial video on how to run SuperCollider codes written for Dot Zip, the album in which Mirror Tempo was included.    

Form

The diagram below summarizes Mirror Tempo’s formal structure. 

  • Step 1: SuperCollider creates a simple percussive sound
  • Step 2: SuperCollider generates a motif for the first part
  • Step 3: The motif is reversed for the second part
  • Step 4: The first part repeats the melody many times, starting with a tempo A and ending with a tempo B. The number of repetitions, the number of steps, is the user’s choice
  • Step 5: The second part repeats the reversed melody with a reversed starting and ending tempo (tempo B to tempo A). The total length is the same as its counterpart. The pitch is shifted one octave higher for clarity
  • Step 6: While the two ostinati are playing at the same time, add a bass note by randomly choosing a note in the motif
  • Step 7: Repeat Steps 4 to 6 a few times.

In the diagram above, an ostinato of [C, Bb, E, Ab, Gb] repeats many times, and the tempo gradually changes from BPM 80 to BPM 134. The retrograde ostinato [Gb, Ab, E, Bb, C] plays with the exact same number of notes as its counter melody but moves from BPM 134 to BPM 80. Meanwhile, a long bass tone is created by randomly picking a note from the motif. 

Code

MirrorTempo_DotZipDownload

Before using the provided code, watch a tutorial video on how to use the code. Downloadable MirrorTempol_DotZip.scd is included in the DotZip package. MirrorTempo_DotZip.scd has the following sections.
SynthDef(“TheSound”) creates the sound described in Step 1. The code creates a sound with a randomized number of harmonics with a percussive amplitude envelope.

The motif described in Step 2 is written as a list of half steps from a set key in MIDI note number. The key of the piece and the motive are coded as the following array.

~key=58;
~motif=[0,2,4,6,8,10,12]+~key;

Then, the motif is randomized with .scramble (Step 3) and reversed with .reverse method for the sounds described in Step 4 and Step 5. The related codes look as below

pitch=~motif.scramble;
pitch.reverse.wrapAt(count)+12

The function ~mirror creates the repeating melodies described in Step 4, Step 5, and Step 6 using Routine. It is usable by inputting a number of notes using the motif, starting BPM, and ending BPM.

~mirror.(size,bpm1,bpm2);

The mirror tempi are created using Array.interpolation. The gradual change of tempo with flexible length is made with the following.

formula=60/(Array.interpolation(size,bpm1,bpm2)); 

Next, the variable formula and its retrograde (formula.reverse) are assigned to .wait method in two Routine functions.

formula.at(count).wait;
formula.reverse.at(count).wait;

Lastly, the realization to sound is done with another Routine.

Routine({
	3.do{
		~mirror.(rrand(100,120),rrand(400,600),rrand(50,200),
			rrand(0.03,0.05),rrand(0.5,2.0),rrand(-1.0,1.0));
		rrand(7,10.0).wait;
	};
}).play;

In this Routine, ~mirror is generated three times with 7-10 second intervals. Each repetition is unique due to the random number generators used in the parameters of ~mirror.

Top-Down and Bottom-Up Composition

The tools used in electronic music composition (DAW, Max, SuperCollider, etc.) motivate users to try their features. These features sometimes intrigue the user, who explores them further and makes music to share the discovery and joy. That is a valid approach in electronic music composition, but it is not the only way. It is important to learn the tools well enough so that the composer can use the tools’ features to realize what’s in their head.

SuperCollider Symposium 2025

Research, Teaching
Presentation PDFDownload

Performing and Sharing Laptop Ensemble Repertoire

Joo Won Park

Repeat Performance

Plan, make, and present pieces suitable for multiple performances

  • Low technical barrier
  • Low cost
  • Interaction with the creator should not be required
  • Does not depend on the performer’s specific skills

Singaporean Crosswalk (2016)

Demo, information, and codes

  • Low technical barrier: No extension or extra installation, the patch starts in 1-3 steps
  • Low cost: no additional gear needed other than a latpo
  • Interaction with the creator should not be required: E Ensemble Performance Record
  • Does not depend on the performer’s specific skills

PS Quartets (2016, 2019)

PS Quartet No.1 demo, information, and codes

PS Quartet No. 2 demo, information, and codes

Benefits

  • Additional performance  gives more chances to find the work’s value
  • Refinement and inspirations
  • Career

Seoseok Bell – Brief Analysis

Compositions, Computer Music Practice, Research, Teaching

Seokseok Bell is a track in Dot Zip, an album of 22 generative music. The album’s purpose is to demo a uniquely electronic sound rendered with codes. Each track has a downloadable SuperCollider code that a listener can render and modify.  Listen to SeoSeok Bell at Bandcamp and download the SuperCollider code from here. 

The following paragraphs analyze the form, code, and musical aspirations in making Seokseok Bell. It teaches how to start and progress a composition from a single synthesized sound. The learning is most effective if the reader has a SuperCollider installed on their computer. Please watch a tutorial video on how to run SuperCollider codes written for Dot Zip.   

Program

Seoseok (서석) is a small town in the mountainous region of Korea. The sound of the bell in a chapel in the town reminds me of peace and love. The piece recreates (or interprets) the bell sound using an additive synthesis-like process and then presents it in an ambient-like style. 

Form

Seoseok Bell creates a bell-like tone by adding multiple sine waves. The bell tones and a simple bass line then make a three-part contrapuntal music. The resulting music has many variations due to the randomization in overtone frequencies, note sequence, and rhythms. The SuperCollider code SeoSeokBell_DotZip.scd does this through the following steps.

  • Step 1: Make two sine waves detuned to each other with a randomized frequency difference, creating a single tone with a pulse.
  • Step 2: Create an overtone series. The notes in the overtone series are randomly detuned.
  • Step 3: Play the sound multiple times with short, randomized time intervals.
  • Step 4: Generate soprano and tenor parts by randomly choosing a note in a scale. At the same time, generate a bass part with simpler overtones in tune.

Code

SeoSeokBell_DotZip.scdDownload

SeoSeokBell_DotZip.scd has the following sections. Watch a tutorial video on how to use the code.

  • SynthDef(“SingleB”): synthesizes sound described in Step 1
  • ~bell: makes sound described in Step 2
  • ~shake: make sound described in Step 3
  • ~sop, ~tenor,  and ~bass: make sound described in Step 4 
  • SynthDef(“NiceB”): synthesizes bass tone described in Step4
  • SystemClock.sched: schedules start and stop time of ~sop, ~tenor, and ~bass

SynthDef(“SingleB”) and SynthDef(“NiceB”)

The two SynthDefs use simple waveform generators (SinOsc.ar and LFPulse.ar) as audio sources. SynthDef(“SingleB”) uses a percussive amplitude envelope with randomized attack and release times. The envelope also includes a transient generated with LFNoise2.ar. The  SynthDef(“NiceB”) has an envelope on the filter frequency of RLPF.ar. 

~bell

In ~bell function, SynthDef(“SingleB”) is duplicated using Routine. The below formulas determine the frequencies of the duplicated Synths.

pitch=(freq*(count))*rrand(0.99,1.01);
pitch2 =pitch*(interval.midiratio)*rrand(0.99,1.02)*rrand(0.99,1.02);

Where argument count is increasing by 1 at every iteration of a .do loop

Once defined, ~bell function generates a sound using the following arguments:

~bell.(fumdamental frequency, amplitude, duration, pan position, interval value of overtones)

~shake

~shake duplicates function ~bell with a Routine with randomized .wait, creating a slight delay between the instances of Synths. Once defined, the ~shake function generates a sound using the following artumdnts:

~shake.(fumdamental frequency, amplitude, duration, interval value of overtones, delay time)

~sop, ~tenor, and ~bass

The three functions ~sop, ~tenor, and ~bass are Routines that play ~shake or Synth(“NiceB”)  with frequencies picked from the array ~scale or ~scalebass. The global variables ~bpm and ~beat determine the wait time. The three Routines receive .play and .stop messages according to the timings set by SystemClock.sched.

Uniquely Electronic

In electronic music, a sound design process is often the starting point of a composition. Seoseok Bell began as an exercise inspired by the Risset Bell. I wanted to create a bell sound using additive synthesis. However, such an exercise should not end as a sound design only. The composer or researcher should present the findings in a musical context. 

More Analysis and Tutorials

What I Remember About My First Gig

Computer Music Practice, Performances

I scanned a photo of my first electronic music improvisation gig in 2002.

It counts as the first gig, for it was the first performance in front of an audience that did not include anyone I know. I also played a complete set with an electronic instrument for the first time. The concert was probably in late 2001 or early 2002, and I don’t remember much of it other than bits of incidents and happenings. A personal keyword unifying the gig is uncomfortable.

  • It was the second time in my life traveling to Brooklyn.  When I arrived at the performance space, everybody except me seemed confident about what they were doing. I was forcing myself not to show my newbieness. It felt weak to show how impressed I was with others’ art and sound.
  • The event organizer introduced himself as Doc. Doc provided a place to hang out in an apartment and food for all the performers. He made a soup (a chili?) with too much ginger. After hurrying to eat the soup among people I didn’t know, I stayed in the apartment’s hallway.  In hindsight, everybody was nice to me. I just did not know how to react to kindness from strangers.
  • I don’t remember much about the performance. From the looks of the picture, I was performing nervously and seriously. I had the attitude of playing in a college recital hall, but the stage was a folding table in a dark basement with DIY lighting. I did not make eye contact or interact with the audience.
  • I felt I did not belong to the event and the culture it belonged to. So I slept early in a room of a person I do not know, woke up at dawn, and hurried to the bus stop. I didn’t say thank yous or goodbyes.

That was my first and queasy gig. The quality of the music I presented was OK, but the quality of social performance were bismal. I could have made friends and fans, but I ran away. Now that 20+ years have passed since the first gig, I feel comfortable socializing with strangers (if needed).  It took me a while to feel like that. Perhaps teaching helped.  I share this experience with my students, who are younger than the 2001 me, to let them know that it is OK to feel bad after the gigs. The career does not end there. Just do more performances, make a few more mistakes, and find a way to feel comfortable showing what you love in front of people you do not know. 

I wish I had audiovisual documentation of the performance, but I had a Motorola cell phone at the time. However, I found a backup of a video demonstration Luis and I made a few weeks after the Brooklyn Performance. It is delightful to see how much my musical practice has changed and remained the same since 2002.

I used a loaned Radio Baton, and my friend Luis Maurette used my Phat-boy MIDI controller. We built a Max patch for the machine and ran it on my very first iBook. The video was shot in an ensemble practice room at Berklee College of Music. Luis and I were Electroic Production and Design students (back then, the major was called Music Synthesis). Ableton Live was just released a few months ago.