EVENING AND MORNING: THE SIXTH DAY (CricKits) (1996) for MIDI keyboard, computer and WaveFront sound card with SampleStore Arthur B. Hunkins God said, "Let the earth bring forth all kinds of living creatures: cattle, crawling creatures and wild animals." And so it was. God made all kinds of wild beasts, every kind of cattle, and every kind of creature crawling on the ground. And God saw that it was good. And there was evening and morning, the sixth day. Genesis I: 24-25, 31 Every creature is a word of God. All things are interdependent. Meister Eckhart The earth does not belong to people; people belong to the earth. . . . This earth is precious to the Creator and to harm the earth is to heap contempt upon its Creator. Chief Seattle GENERAL EVENING AND MORNING is a work for one or more performers on a single MIDI keyboard. (For a multiple keyboard option, see below.) The keyboard connects via MIDI input cable to an IBM-compatible computer containing a WaveFront sound card with SampleStore capability. As of this date (10/96), sound boards meeting these criteria are Turtle Beach Systems' Monterey, Maui, Tropez, Tropez Plus, and Rio daughterboard (mounted on a TB Tahiti; the Rio will not work with any other mothercard--Rio/Tahiti = Monterey). In all cases 1Meg sample RAM is added to the board by the user. The keyboard must possess a minimum four-octave (49 key) range; it may or may not be velocity sensitive. The sound card's output is stereo, and stereo pan position is an important feature of EVENING AND MORNING. A wide, well-differentiated stereo field is required in performance. If two performers collaborate in the realization, they can either split the keyboard "down the middle" (C2-B3, C4-C6) sharing black and white keys, OR one take all the white, the other all the black keys. With three performers, two share the white keys as above, the third covering the black. A performer playing ONLY black keys should probably be situated on the opposite side of the keyboard. This is not a composition in the usual sense, but rather a framework for improvization--a set of performance materials. The subtitle CricKit is meant to convey this idea--a "kit" of cricket samples as live-performance MIDI instruments. The work exists as a set of four "kits"--CricKits 1 through 4, each a slightly different WaveFront "drum kit" (.WFD file). All four sets are identical except in two respects: panning position and peak amplitude, each of which varies per event ("note"). CricKit1 randomizes both event pan position and peak amplitude. CricKit2 uses a fixed pan position per key while randomizing peak amplitude. Keyboard velocity sensitivity does not affect either of these two versions. CricKit3 randomizes pan position, while CricKit4 uses fixed pan position (per key); both add a small amount of amplitude modulation (speed varied per key). In addition, a velocity- sensitive keyboard controls peak level for all sounds. The four-octave keyboard is divided into three "zones": C2-B3 white keys (bottom two octaves), C4-C6 white keys (two high octaves including the extra top C), and all the black keys. (These are the two octaves on either side of middle C, and the lower four octaves of a five-octave keyboard.) A different kind of cricket sample is assigned to each range. The first "zone," C2-B3 white keys, is dedicated to steady background cricket ambiance, though each octave is a bit different. The first octave (C2-B2) contains simple, "pure" background crickets, while octave two (C3-B3) is slightly richer and fuller, more of a "chorus" sound. While each key triggers a totally different sample (14 total), each has an envelope with slow fadein and out. In addition, the "chorus" sounds are slightly louder, and are pitched a quarter tone higher than the "pure." The upper white key range consists of an extended, multiple-event "solo" chirp, several notes less (down to four) for each ascending key per octave (the sequence is progressively truncated). The top octave basically duplicates the bottom except that it too is transposed up a quarter tone. The top C6 is a shortest loop of all, consisting only of three notes. The black keys also trigger an extended "chirp" sample, but this one is a single prolonged "chirp" over a fairly rich "choral" background. Each key represents a different looping of this sample; the lower two octaves select the opening part of the sample containing the idiomatic "attack" of the "chirp," while the upper half deals with the latter portion (no "attack"). PREPARATION FOR PERFORMANCE There are two methods of software preparation for performance of EVENING AND MORNING. One requires Windows and the Windows application WavePatch 1.3 (not included with these materials), while a simpler and faster method works from DOS but is not possible with Monterey. (If WavePatch 1.3 is not included in your bundled software, it may be downloaded free from the Turtle Beach Systems Beachcomber BBS; filename is waveph13.zip or wpatch13.zip. It is also available at www.tbeach.com or ftp.tbeach.com/tbeach.) In all cases, the minimum 1Meg RAM must be installed on the sound card. Both procedures below assume a norm of 24 simultaneous voices (keys down at once). This gives maximum fidelity and will be satisfactory for all but the most elaborate rendition! The number of voices may be increased to any number up to 32 with only a minimal sacrifice of tone quality. Directions for specifying a higher number of simultaneous voices are given below. Before following EITHER procedure, create a directory on your C: drive named \CRICKITS and copy all diskette files to it. METHOD #1--applies to ALL SampleStore synthesizers: Monterey, Maui, Tropez, Tropez Plus, Rio; and requires WavePatch 1.3. Make sure WavePatch is installed in Windows and is working properly with your WaveFront card. Enter the WavePatch application, and under File, select Load Drum Kit, and access your C:\CRICKITS directory. Load your choice of CricKit1-4. Next, under Window, select Master Controls; choose the appropriate MIDI input device (usually External In) as the Audition Input and (if necessary) slide Volume to maximum. Specify Maximum Voices as 24 (unless you need more--up to 32). Make sure that Rechannelize is NOT checked. Then, either change the indicated Drum Channel number to the MIDI output channel of your keyboard, OR--on your KEYBOARD--select channel 10 (WaveFront default drum channel) as output channel. Finally, close the Master Controls window. Leave the WavePatch application open while performing EVENING AND MORNING. Method #1 has the advantage that it can be used with ANY MIDI interface/connector in your system, including a separate MPU401-type interface or other sound card. If you have the other sound hardware set up correctly and working with WaveFront (avoiding address and IRQ conflicts!), you should be able to use its MIDI connector for this piece. As a result, you may not need to deal with the proprietary Turtle Beach MIDI adapter discussed below. Simply select the RELEVANT MIDI INPUT AUDITION DEVICE in WavePatch's Window/Master Controls selection box, as discussed above. METHOD #2--applies only to Maui, Tropez, and Tropez Plus; it does not require WavePatch or other Windows software. However, if you have the Maui, you MUST interface with the proprietary Turtle Beach MIDI connector (see below). If your sound board port address and/or IRQ are not the usual defaults /a330 and /i2(9), do the following before proceeding: use a text editor to change these numbers on the first (and last) line of kit.bat to the proper ones for your system. (This instruction is included in kit.bat, as is the brief direction for specifying more than 24 voices. Also see kit.bat and setwf.doc for the /MPU flag required with Rio.) Now, from the C:\CRICKITS directory, simply type kit x {ENTER}--where x equals 1-4 corresponding to your choice of CricKit1-4. After running kit.bat (which takes notably little time), you are ready to perform. Since this method transfers MIDI information from your keyboard to the WaveFront "drum kit" on ALL channels, the keyboard's output channel number is immaterial. (As noted below, when using MULTIPLE keyboards, it may be best to choose DIFFERENT output channels for each instrument.) PERFORMANCE CONSIDERATIONS The overall effect of the "structured improvization" should be that of a layered texture that slowly shifts and evolves. Each key represents a layer. The performance should begin with a textural and dynamic crescendo, and end with a comparable diminuendo. In general, individual keys remain pressed for substantial lengths of time, and enter and exit independently, creating a slow rate of incremental textural change. Each shift should be given the opportunity to be heard (even to well establish itself) before the next begins. The initial crescendo and final diminuendo should be accomplished in part by changes in amplifier level in all CricKits except 3 and 4 when performed on a velocity-sensitive keyboard. With the latter versions, keyboard velocity may largely create these framing dynamics. The main body of the performance maintains moderate volume; while rich texture is encouraged, the work should never become "loud." Except for initial and final fades in fixed-velocity renditions, amplifier level remains unchanged. Since the "solo" sample, represented by the upper two octaves of white keys, contains considerable mid-range hiss, it should normally be accompanied by a "bed" of one or more of the other samples, so as to substantially mask the noise. A simple, yet rich "bed" is created by "chorus," or a combination of "pure" and "chorus" samples (the two lower white octaves). In terms of "textural density," the "pure" samples are softest and least intense, followed closely by the "chorus" group. The "solo" keys (upper white octaves) are the most active, though they are quite light and somewhat diffuse. The black key "chirp" segments represent a mid- range in intensity and are roughly equal in volume to "solo." A natural textural crescendo/diminuendo can be accomplished by observing the following general entry/exit order: "pure," "chorus," "chirp," "solo," "chirp," chorus," "pure." However, such a generalized arch design is only one of many possible plans; it is feasible to end at quite a different point from the beginning. The performer is urged to create his/her own unique "roadmap" through this material and to trace ever-new paths through improvization. The strongest single suggestion is to begin and/or end with "pure" and "chorus" sonorities, as these are points of lowest activity. Even this remains a suggestion or guideline, however--not a requirement. Within the keys representing "chirp" and "solo," there is a notable range of textural variation. This is particularly true of the "chirps." These differences may be incorporated into the performance structure. As the player explores the looping/editing of the various layers, he/she will discover how the sonorities have been laid out on the keyboard "intuitively" in several respects. Important in this regard are fixed pan placement and looping of "chirp" and to a lesser extent, "solo" samples. Such a layout should cut down on learning time and facilitate spontaneity. Rehearsal, then, is largely a matter of planning and realizing evolving textural densities, while becoming sensitive to the effect/role of various layers in the textural collage. Performances may either be well planned (even "scored") in advance, or spontaneous and interactive. They could conceivably even be realized as MIDI sequencer files, such as in Cakewalk, incorporating Cakewalk Application Language (CAL) to customize/randomize "performance" elements such as layer entry and duration, key velocity, textural density, or layer selection itself! The only requirement for any kind of realization is that the general norms outlined here be respected. Minimum duration is five minutes, but substantially longer performances are encouraged. OPTIONAL EFFECTS PROCESSING ON THE MONTEREY AND TROPEZ PLUS Two WaveFront soundcards with SampleStore--Monterey and Tropez Plus-- contain real-time effects processors. By default, both boards initialize, in both DOS and Windows, with a modest amount of reverberation. (To change this setting, you must run one of the procedures described below.) These effects can ONLY BE CHANGED IN WINDOWS. EVENING AND MORNING may be realized without processing, with the modest default reverb, or with a combination of reverb, chorus, and/or delay--all at low to moderate levels. The intent is to augment the qualities of openness and spaciousness. Too little processing is better than too much; "realism" should be enhanced rather than compromised. On BOTH SOUND CARDS, the effects may be accessed in Windows through the card's Control Panel (located in the sound card's application group). After completing software setup Method #1 (using WavePatch), SWITCH to the Control Panel without leaving WavePatch. Click on "FX Clips." After making/customizing your effect selection (choices vary on the two boards; Tropez Plus offers up to three simultaneous effects), switch back to WavePatch. To try out different settings, switch back and forth freely. On the TROPEZ PLUS, with Method #2, you may utilize the effects in DOS, without accessing WavePatch. Assuming your system is correctly configured for Tropez Plus under BOTH DOS AND WINDOWS (Quick Install does this), first enter Windows and access the Tropez Plus Control Panel, selecting/customizing effects as above. After exiting Windows, NEXT run kit.bat as described under Method #2. You are now ready to perform. To modify effects, access the Control Panel in Windows, then exit and rerun kit.bat. (The trick here is that kit.bat runs a version of setupsnd that does NOT reinitialize the effects processor, but otherwise prepares the card to work in DOS. ANOTHER version of setupsnd--one that comes with Tropez Plus--is auto-installed in your autoexec.bat file; it DOES initialize the effects!) MAKING A MIDI CABLE Unfortunately, the MIDI connector for Turtle Beach Monterey and Maui sound cards requires a proprietary TBS adapter/cable that is difficult to obtain. (Tropez and Tropez Plus thankfully use the joystick/MIDI connector common to most sound cards.) This non-standard adapter is not packaged with the boards themselves, and can only be ordered directly from Turtle Beach. Turtle Beach, however, no longer routinely handles "special orders" from either individuals or companies (though with perseverence you MAY be able to obtain the unit--for $30 plus shipping). Happily, you can construct your own fairly easily, with parts available from Radio Shack. The instructions below create one MIDI INPUT ONLY cable for Monterey and Maui sound cards. (Be aware that the Turtle Beach adapter also includes MIDI Out and Thru, but does not furnish the MIDI cables themselves.) Parts: Radio Shack 42-2468 5-pin DIN cable (6')--$4.99 (this is the single MIDI input cable); 276-1537 9-position male D-sub connector-- $.99; 276-1508 9-position metal D-sub hood for above connector--$2.19. Construction: Begin by cutting the DIN connector off one end of the MIDI cable. Strip about an inch of the plastic cover from that end of the cable; then twist the cable shield strands together while snipping off all the other wires EXCEPT the black and red. (Black corresponds to pin 4--the next to left pin as you view the remaining DIN connector with pins curving upward; red corresponds to pin 5--next to right.) As you view the D-connector from the OUTSIDE with the row of four pins to the LEFT, solder the black lead to the TOP LEFT pin (pin 6) and the red lead to the TOP RIGHT (pin 1). (Solder to the OTHER end of the pins you identified visually.) Then assemble the hood, taking the twisted shield and curling it around one of the two screws that hold the hood together. This is the most painstaking part of the assembly; but with it you are finished! PERFORMANCE ON MULTIPLE KEYBOARDS EVENING AND MORNING may be performed on multiple keyboards by more than one player. In this case, one or more MIDI MERGE BOXES are required. When performing the work from WavePatch, all keyboards must be set to the SAME "drum channel" (only one may be selected in WavePatch); from DOS (running kit.bat), keyboard channels may be the same OR DIFFERENT (ALL channels are automatically set to "drums"). With multiple keyboards, the same key (layer) may be gated more than once simultaneously; this leads to interesting, unique chorus/beating effects. There is a problem, however, in using the SAME MIDI (DRUM) CHANNEL for several keyboards: gating a key OFF on one keyboard gates it off on all! This is best avoided! Since this anomaly does not occur when the channels are different, multiple keyboard performance should be done from DOS with UNIQUE channels per keyboard. Unfortunately, as mentioned above, this option is not available to the Monterey or Rio (simply avoid playing the same key simultaneously on two keyboards). Velocity and non-velocity sensitive keyboards may be used together. A keyboard need only contain the range of keys a given performer intends to play. With multiple keyboards, the issue of which performer handles which group of keys/samples is completely open. It is possible, for example, that each player could work with the entire 49-key range, and that a very dense texture could result. The only (hardware-imposed) limit on density is that of 32 simultaneous voices.