liveelectronic

Liveelectronic, or live electronics, refers to the practice of performing electronic sound processing in real time during a concert, typically in collaboration with acoustic instruments or voices. It encompasses real-time synthesis, sampling, processing, and manipulation of sound signals through computers, hardware processors, or a combination of both. The field covers both patches operated directly by a performer and configurations where a separate technician handles the electronics.

The approach emerged from mid-20th century electroacoustic music and the development of real-time processing techniques. Early experiments by composers such as Stockhausen and Boulez integrated live electronics with instrumental performance, pushing the boundaries of what could be altered or generated during performance. The 1980s and 1990s brought wider access to personal computers and software, leading to laptop-based setups and environments like Max/MSP, Pure Data, and SuperCollider. Institutions such as IRCAM in Paris and STEIM in Amsterdam have played key roles in research, development, and performance practice.

Common techniques in liveelectronic performance include real-time sampling and looping, granular synthesis, spectral processing, and various forms of digital signal processing. Performers may employ virtual or physical models, delays, reverbs, filters, and spatialization, often reacting to live input from microphones or instruments. Controllers, sensors, and, in some cases, live coding are used to shape sound during a performance.Latency, synchronization, and sound reinforcement are practical considerations that influence setup and interpretation.

In contemporary practice, liveelectronic is integrated across contemporary classical, experimental, and electronic music scenes. It remains a dynamic area where composers and performers collaborate to create improvised or fixed-repertoire works that transform sound in real time.