42 !!Chapter 3
puter programs, and the scenes change according to measure numbers.
This enables programmers to work in a nonlinear manner. A video player
must roll to chosen sections, which is time consuming. With digitized
video clips, a programmer can navigate from measure 3 to measure 24
instantly, and the video follows.
When a sequencer is connected to a video player, the composer can
roll the tape to a specific scene, and the computer will display bar numbers
and real-time and SMPTE (Society of Motion Picture and Television Engi-
neers) frame numbers (a time code), providing an address for the specific
location. For example, if the tempo were 120 beats per minute, the indica-
tor might read that the action takes place on the third beat of measure 15.
The composer compiles a list of markers that describe the action, serving
as a guide to composing the final composition. Next to the markers is the
SMPTE number, bar number, tempo, and real time. (These are discussed
in detail in chapter 5.) This system is rarely used since digitized video clips
(video) are able to load into sequencing programs.
Electronic music and editing has enabled composer/arrangers to pro-
gram music that would be impossible for live musicians to perform. The
most obvious example is the programming of drums, using very complex
rhythms with numerous percussion instruments played simultaneously.
Special effects (delays, various reverbs, and so on) are added to the mix,
giving the final drum part a unique sound that could not be achieved
through traditional methods. The same theory applies to other instru-
ments and audio. Composers have to consider this technology when com-
posing and/or producing music. Virtually any musical ideas can be
realized. This is the primary difference between composing for traditional
instruments performed by live musicians and using only electronic instru-
ments or in combination with live instrumentalists.
Sequences provide automated recording and automated mixing. A
graphic display of a recording console works in the same manner as a
hardware version of a recording console and tape recorder. The transport
controls display a record button, fast-forward and rewind buttons, and a
stop button. As previously mentioned, the measure numbers and beats are
displayed in a separate window, enabling the programmer to also read
real-time and SMPTE time codes. The mixing console contains channel
strips with send knobs, pan knobs, mute buttons, automation buttons, and
track assignment buttons. The individual faders, located within each chan-
nel, are used to adjust levels. The aux send knobs enable the use of effects
such reverb; EQ (equalization), which can alter the frequencies (treble,
midrange, bass, and so on); and other parameters that are included within
hardware versions of recording consoles. After the music has been pro-
grammed, the individual sounds (tracks) are mixed together to form a
final musical combination called amix.