A former band-mate recently asked if I still had my huge modular Moog and stack of keyboards that I owned when we were playing in a band together decades ago. While the simple answer is no, there are logical reasons why not.
Back then, I was a live musician who would occasionally go into the studio to record songs. My main focus was playing live and giving audiences the most entertaining show possible. The fact that I carried over 1/2 ton of equipment to every gig was a part of the show. And believe me, despite all the work involved, it was a whole lot of fun.
Each keyboard had a unique sound. While it was possible to manipulate the sounds of each keyboard while on stage, there was not enough time between songs to make dramatic changes – especially with the Moog. There was no “save” button, everything was done manually. The main purpose of all this equipment was to perform live and entertain audiences wherever we went.
Fast forward to today. I no longer play live. I am a full-time Music Composer and Sound Designer. Yes, people really do this for a living and I’m one of the fortunate ones who do. All of my work is done inside my recording studios. My requirements have changed dramatically and so have the technology and instruments that I use.
In order to compose, record and produce music and sound, I now use very powerful professional computer software. I have well over a terabyte of musical instruments and sound effects that allow me to create music and audio in any style. Everything is still performed and recorded in real-time. The main difference is that each part is performed using a keyboard controller and a percussion controller that trigger sampled instruments.
When budgets allow, I can bring in live musicians to record. I have even recorded a full orchestra at a commercial recording studio, then brought those recordings back to my studio to integrate them with my recordings in order to complete the finished product.
Current technology gives me complete control over every aspect of creation, production, delivery and archiving. If I need to call up an old recording session, it can be opened in a matter of seconds. Most new music you hear is produced this way.
I still love going to concerts and admire all of the talented musicians who play live. But my job as a composer and sound designer requires a very different set of tools.