![]() ![]() They don’t like being a slave to a click track or the shackles of a prerecorded accompaniment, and for this reason alone, this doesn’t seem to be a viable option. The problem here is that conductors are control freaks: they are opinionated about tempo, balance, and dynamics. Many of the sounds that I used were sounds I designed myself that have no equivalent in traditional orchestral instruments or synthesizers, so there really is no substitute for these old dead sounds.Īn alternative is to create a recording of the accompaniment in a kind of Music Minus One format. I have held onto old computers with old operating systems in hopes that someday I can resurrect them. ![]() I still own these synthesizers, but there is no software available that can download the sounds into them. The synthesizers I used were the Yamaha DX7, the Yamaha TX802, the Roland D50, and the Kurzweil K2000 - all now long dead. Our world-famous composer is now tasting a bit of what I experienced: investing time and energy in writing music for instruments that are dead.īetween 19, I wrote three cantatas for gay choruses whose core instrumentation included three or four live synthesizers: “Hidden Legacies”, “Letters to the Future”, and “Flashpoint/Stonewall”. ![]() The problem is that both synthesizers are no longer in production, and, although there are still some used ones around, there probably won’t be any in a few years. I asked him to tell me what patches the score called for, thinking we could come up with some generic sounds that would come close to what John wanted. I knew that Robert Winter had a K2500 in his studio, otherwise I had no idea what to recommend. Last week I got an email from a student conductor who is performing a piece by John Adams, needing a synthesizer, specifically a Kurzweil K2500 or 2600. ![]()
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