You have probably come across these terms before, but what exactly are they about? Let’s unbox the meaning of these terms!

The “box”

When it comes to producing music digitally, there are—roughly speaking—three options: in-the-box, out-of-the-box and hybrid. The “box” refers to a computer, more precisely: a personal computer such as a laptop or desktop computer, and also a tablet or smartphone.

In-the-box

You can produce your music entirely with a smartphone, tablet or computer, optionally using a controller to operate the software on your device. In that case, you are working in-the-box.

Out-of-the-box

You can also create your music completely without a smartphone, tablet or computer by using digital devices such as a production system or a digital multitrack recorder. This is called out-of-the-box, even though such devices do contain some form of computer.

To make things even more confusing: stand-alone music production devices (such as Native Instrument’s Machine+ and Ableton’s Push3) can often be connected to a laptop or tablet, enabling you to control the device and its settings through software, or to use the device as a controller for the computer’s software. In that latter case, you are once again working in-the-box.

Hybrid

You can combine smartphones, tablets and computers with digital music technology, such as an audio interface that converts your vocal signal from a microphone into digital audio—and converts the digital signal from your computer back to an amplifier and speakers. In this situation, you are still working in-the-box.

However, if you work within the computer but use external audio equipment for effects and audio processing, then you are using a hybrid set-up. Some elements take place inside the computer, while others are handled by outboard gear.

What works best for your teaching?

A slightly unhelpful—but honest—answer is: that’s up to you.

Out-of-the-box, for example with a production system, can be a smart choice if you do not want to rely on an external computer and software that may require frequent updates and additional licences. These music production devices often include a built-in audio interface, so you won’t need a separate one or have to connect it to your computer. The main disadvantage, however, is that a production system adds costs if you already use a computer with (free) software and an audio interface in your lessons. Moreover, if one part of the production system breaks, you may not be able to use the device at all until it has been repaired.

In-the-box gives you more flexibility, for example, in choosing software. In principle, you can select the most suitable software for each learning objective. It also allows students to use the same software as they use in class when they work at home on their own laptops. Production systems are expensive, which raises the threshold for students to make digital music at home.

A hybrid set-up gives you even more options in selecting the right tool for each learning goal. It also enables you to combine computer software with external devices. This approach is common in many professional studios, where sound engineers may prefer a vintage piece of audio equipment over a software equivalent. In a budget-friendly set-up, you could use guitar pedals you have laying around as effects on parts of your mix. However, hybrid systems are usually more complex to set up, operate and maintain, and they involve additional costs.

Setup for out-of-the-box music production with KORG Volca synthesizers

Hybrid in my music teacher training sessions

I personally use a hybrid set-up when, for example, teaching about the nature of sound.

I combine a device —a function generator— that can produce different waveforms, amplitudes and frequencies with a waveform visualizer in an app on my computer —an oscilloscope in MaxMSP— that shows the resulting sound waves on the digital whiteboard.

Of course, I could create the waveforms in MaxMSP as well. This app — used for visually programming interactive music, multimedia and art systems or installations, such as musical instruments, effects and live video manipulation — is capable of far more than displaying an oscilloscope. But by using the function generator — a real-world device — I can work with a tactile tool that focuses solely on the aspect I want to teach.

Additionally, it allows me to show my students something that composers of early electronic music used for creating their musique concrète and other electronic music and sound explorations —making the concept of sound a little more … uhm … concrete.

When do you use what approach in your music lessons?

Do you take a hybrid approach to digital music production in your lessons? Or do you prefer to work entirely in-the-box or out-of-the-box? And what does your set-up then look like?

Share your thoughts in the comments.
I would love to hear about what works for you and your students!