STAR OF THE EAST (StarKit) (1997) for Yamaha FB01 Sound Generator or TX81Z Tone Generator, MIDI controller, and optional signal processor Arthur B. Hunkins "Where is he that is born king of the Jews? For we have seen his star in the East and have come to worship him." And behold, the star that they had seen in the East went before them, until it came and stood over the place where the child was. And when they saw the star they rejoiced exceedingly. And entering the house, they found the child with Mary his mother, and falling down they worshipped him. Matthew 2:2, 9-11 "I am the root and the offspring of David, the bright morning star." Revelation 22:16 GENERAL STAR OF THE EAST is a live performance work for either Yamaha FB01 Sound Generator or TX81Z Tone Generator and MIDI controller, including any MIDI keyboard. The controller must be capable of "playing" the eight MIDI notes C5 (middle C), D5, E5, F5, G5, A5, B5 and C6 with independent gating, and without re-gating a note before it has completely died out. It must also permit up to all eight notes to be on simultaneously. (Optional external signal processing is described below.) The controller may or may not be velocity sensitive (though velocity sensitivity is preferable and results in a more varied realization). Control options include sequencer programs, some algorithmic performance routines, and various touch and percussion controllers. All synthesizer input is on MIDI channel one. Live performance requirements are minimal; just about ANYONE could perform this piece. An MPU-401 compatible computer interface and single MIDI cable are required to load software from this diskette into the selected Yamaha synthesizer. (If your MIDI interface is some other type, use another MIDI SysEx utility, such as MDF--which also handles SoundBlaster and Gravis Ultrasound; the accompanying Midiex only recognizes MPU-401 compatible interfaces.) The stereo output from FB01 or TX81Z is run to a stereo amplifier. STAR OF THE EAST may be performed in either mono or stereo mode. If stereo is selected, place the speakers so that stereo imaging is only modest. (If such placement is not feasible, select mono mode.) Preset amplifier level so that volume is soft to moderate throughout (with velocity sensitivity, make sure that the loudest notes do not exceed this level). Minimum duration is four minutes. STAR OF THE EAST is not a composition in the usual sense, but rather a framework for improvization--a set of performance materials. The subtitle StarKit is meant to convey this idea--a "kit" of "star harmonics." Eight sonorities, each featuring a selected member of a single harmonic series, blend into a single "soundmass"--the "star." The improvization/realization consists of these "kit elements" interacting, overlapping--and combining into a multifaceted, everchanging, larger whole. The synthesizers are programmed to respond only to the eight notes listed above. (Other MIDI "notes" will not "play" anything). These eight notes produce sonorities that are focussed on the first eight odd harmonics--1, 3, 5, 7, 9, 11, 13 and 15--of C an octave above middle C. With a velocity sensitive controller, the degree of "spread"--in terms of ADDITIONAL harmonics present in the sonority--varies: at low velocity, only the single harmonic appears, while at higher velocity, neighboring harmonics considerably fatten the sound. As velocity increases, so does the overall volume. Two synthesizer "performances" (TX81Z) or "configurations" (FB01) are available--each using a slightly different set of instruments. In non- velocity sensing performance, the two options yield identical results. With velocity sensitivity, the first performance/configuration permits only modest dynamic contrast, while the second allows for considerably greater range. (The amount of harmonic "spread" is the same for each). It is a limitation of the synthesizers that tone will cut off suddenly if a given note is re-gated before it completely dies out. Since the essence of this piece is that of slow-moving, gradual "process," the performer must assure that notes are not re-gated while they are still sounding. The approximate release time for all tones is six seconds (attack time is about four seconds). Gates MAY be switched off before an attack is complete, but notes are normally sustained (full volume) for several seconds or more. Although events are gated and released fairly frequently (and normally one at a time), they individually sustain for longer periods, with the result that overall texture only slowly shifts. SETUP Software preparation of the two synthesizers is quite different. Each is described below. FB01-- First, prepare the FB01 to receive the "configuration" and "voice bank" files by "unprotecting" it as follows: Press the SYSTEM SETUP key (twice) until Protect ON appears; then press DATA ENTRY -1/NO one time (display changes to Protect OFF). Continue by pressing SYSTEM SETUP again (six times) until the original display reappears. Next, connect the MIDI cable between MIDI Out on the interface to MIDI In on the FB01. Get to the floppy drive directory (a: or b:) that contains this diskette and type MIDIEX . (MIDIEX is a shareware system EXclusive file transfer utility.) Choose T (for Transfer) then type the filename, STARCFG.FB1 , then again. (This loads the two "ConFiGurations.") In a moment, the display "dump/received" should appear; if it doesn't, recheck these steps. Press SYSTEM SETUP once, then DATA ENTRY +1/YES. The display should now include the name "Star." (If it doesn't, press one of the DATA ENTRY keys until it does.) Repeat the transfer process by choosing T again, typing the new filename, STARVB.FB1 then . (This loads the "Voice Bank," i.e., the instruments/tones for both configurations.) "Dump/received" should again appear. Then press SYSTEM SETUP. The display returns to configuration identifier "Star" and the download procedure is complete. Hit ESC to exit from MIDIEX. The FB01 is now programmed; you have only to select the configuration number. This is done with the two DATA ENTRY keys. The configuration is indicated by the bracketed number 1 or 2 in the display, followed by the the name--Star1 or Star2. Preselect the configuration you wish (see distinctions in paragraph three above). TX81Z-- First, prepare the TX81Z to receive the "performance" and "voice bank" files by "unprotecting" it as follows: Press PLAY/PERFORM until it displays PLAY SINGLE (it may already do so); then press UTILITY. Press the PARAMETER keys until Mem Protect:on appears, then press the DEC button one time (the display changes to Mem Protect:off). Continue by pressing PLAY/PERFORM again. Next, connect the MIDI cable between MIDI Out on the interface to MIDI In on the TX81Z. Get to the floppy drive directory (a: or b:) that contains this diskette and type MIDIEX . Choose T then type the filename, STARPRF.TX , then again. (This loads both "PeRFormances.") In a moment, the display "Midi Received" should appear; if it doesn't, recheck these steps. Press PLAY/PERFORM once; the display should now include the name "Star." (If it doesn't, press one of the DATA ENTRY keys until it does.) Repeat the transfer process by choosing T again, typing the new filename, STARVB.TX , then . (This loads the "Voice Bank" of bell tones.) "Midi Received" should again appear. Then press PLAY/PERFORM twice to return to performance identifier "Star" and the download procedure is complete. Hit EXC to exit from MIDIEX. The TX81Z is now programmed; you have only to select the performance number. This is done with the two DATA ENTRY keys. The performances are indicated by the numbers PF01 or PF02 in the display, followed by their names--Star1 or Star2. Preselect the performance you wish (see distinctions in paragraph three above). PERFORMANCE--General One item must be verified on whatever controller the performer chooses: its MIDI Transmit Channel must be set to one. (If a keyboard, it probably already is.) If running a Windows program that uses the MIDI Mapper, make sure that channel one of the current MIDI map is set to the MPU-401 (or other external MIDI) driver. The Yamaha synthesizers are set to respond only on channel one. (There may, in addition, be other items on a keyboard that need to be set in order for it to ACT AS A CONTROLLER. For example, Yamaha 4-op FM keyboards require a MIDI On/Off setting to be ON. Check your keyboard documentation.) The performer constructs, in advance, his/her own realization of this work; alternately, he/she may do a real-time improvization. (See above for a list of suggested MIDI control/performance options.) Since the live performance requirements are so simple (for the keyboardist, eight adjoining white keys with unchanging hand position and only occasional keys pressed and released), even the modestly prepared musician should be comfortable improvizing. In any case, the guidelines/norms listed in the following paragraphs (and above) apply. PERFORMANCE--Norms The work is in a single part, with continuous sound from beginning to end. As mentioned above, the dynamic level is soft (or in velicity sensitive versions, very soft) to moderate. Performance begins with a single sonority ("note") and gradually builds textural density. At some point the texture expands to where all or most of the eight notes are simultaneously sustained. The performance may end at this sustained "high" point or on some "intermediate" texture where relative stability is maintained for a substantial period of time--all the "notes" gating off together. Alternately, the work may then texturally thin, until only one or several voices remain. This option is particularly effective when the performance begins with top or bottom "notes," expanding to a richer grouping, then with last events thinning to where only the highest "note(s)" are left. All movement should seem unhurried and evolutionary, with long-lined shifts from low to high, thick to thin. Emphasis is on texture and density rather than individual note-events. Sonorities should emerge from and recede into the general "soundmass," rather than draw attention to themselves-- especially once an initial "mass" is established. In order to maintain sufficient density, during the body of the work a MINIMUM OF TWO AND PREFERABLY THREE "notes" should be sustained at all times. OPTIONAL EXTERNAL SIGNAL PROCESSING External, studio-quality signal processing can enhance the sonority and character of the FB01/TX81Z output. The composer uses a DigiTech TSR-24 true stereo multi-effects processor. The basic idea is to ANIMATE the sound in an APERIODIC way, and to create a slightly more diffuse, shimmering texture--all WITHOUT SIGNIFICANT BEATING. Any effect should be subtle and at a low level in the output mix. Multiple (stereo) choruses in series seem to be most effective; detunes, phasers and delays either create beats or modify the color in only a static way. The composer's processing chain comprises three stereo choruses, each followed by a 4x2(3) mixer. Chorus speeds are 2, 2.3 and 2.7Hz respectively. Each chorus is set to a depth of .25ms. Chorus #2 is delayed 3.25ms, #3 by 5.5ms. The master (output) mix is 92% dry, 8% wet. STAR OF THE EAST is best augmented by TRUE PARALLEL stereo processing, which preserves the original stereo image. Lacking a true stereo processor, synthesizer output may be externally mixed to mono, or mixed at the start of the effects chain. In no case should panning be added by the external processor.