From my research, it appears to me that the sky really is the limit for computer generated music in live performance. From such humble days where a user could only produce tones on a ZX81, electronic music is reaching out far and wide - and not just in music.
Projects such as IRCAM (Institut de Recerche et Coordination Acoustique/Musique) are constantly blurring the boundaries that seperate electronic music from areas such as education, society and media (for example).
Central to IRCAM is the development and modification of software to be distributed to each and every field they touch. So, for example, they are developing software for educative establishments - which in turn could give rise to a new wave of electronic artistes.
With the technology ever-changing and projects covering many different fields, there is limitless potential for live electronic music. For example, one such project developed at IRCAM (which achieved critical acclaim) was WindSet - wherein accurate virtual models were made of brass instruments to be used by electronic artistes. The end result was the software package BRASS 2.0 (distributed by Arturia). But more than just being a library of samples, this piece of software takes into account the way the instruments are played and how they interact with each other - aside from many other useful functions (such as the option to place an instrument in a "virtual stereo space").
This software includes accurate representations of how these instruments harmonise, and the ability to edit and control the attack of notes played and use of mutes (both static and dynamic).
BRASS 2.0 achieved critical acclaim after its release in 2006, and was described as "uncannily human in its response"1 in the May 2006 issue of Sound on Sound.
Such success is standard for projects developed at IRCAM, and with other projects such as Listen (a project completed in 2003 which "[provides] users with intuitive access to personalised and situated audio information spaces while they naturally explore everyday environments") new ways of reaching your audience - and perhaps even finding new ones - are appearing left-right-and-centre.
Gone are the days of unrealistic sounding Cubase MIDI sounds being controlled by Fisher Price-esque MIDI controllers - synthesised sounds are fast-becoming more functional, more realistic and most important of all, more usable in many different genres of music.
References:
1: http://www.arturia.com/evolution/en/company/clippings.html#Brass
2: http://www.ircam.fr/307.html?&L=1&tx_ircamprojects_pi1[showUid]=8&tx_ircamprojects_pi1[pType]=p&cHash=a272231854
Projects such as IRCAM (Institut de Recerche et Coordination Acoustique/Musique) are constantly blurring the boundaries that seperate electronic music from areas such as education, society and media (for example).
Central to IRCAM is the development and modification of software to be distributed to each and every field they touch. So, for example, they are developing software for educative establishments - which in turn could give rise to a new wave of electronic artistes.
With the technology ever-changing and projects covering many different fields, there is limitless potential for live electronic music. For example, one such project developed at IRCAM (which achieved critical acclaim) was WindSet - wherein accurate virtual models were made of brass instruments to be used by electronic artistes. The end result was the software package BRASS 2.0 (distributed by Arturia). But more than just being a library of samples, this piece of software takes into account the way the instruments are played and how they interact with each other - aside from many other useful functions (such as the option to place an instrument in a "virtual stereo space").
This software includes accurate representations of how these instruments harmonise, and the ability to edit and control the attack of notes played and use of mutes (both static and dynamic).
BRASS 2.0 achieved critical acclaim after its release in 2006, and was described as "uncannily human in its response"1 in the May 2006 issue of Sound on Sound.
Such success is standard for projects developed at IRCAM, and with other projects such as Listen (a project completed in 2003 which "[provides] users with intuitive access to personalised and situated audio information spaces while they naturally explore everyday environments") new ways of reaching your audience - and perhaps even finding new ones - are appearing left-right-and-centre.
Gone are the days of unrealistic sounding Cubase MIDI sounds being controlled by Fisher Price-esque MIDI controllers - synthesised sounds are fast-becoming more functional, more realistic and most important of all, more usable in many different genres of music.
References:
1: http://www.arturia.com/evolution/en/company/clippings.html#Brass
2: http://www.ircam.fr/307.html?&L=1&tx_ircamprojects_pi1[showUid]=8&tx_ircamprojects_pi1[pType]=p&cHash=a272231854
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