Fellow Elektron users: if you compose live sets (and they’re not fully improvised), how do you document them so that you can easily see how to execute them?
So, I’ve been playing left-field techno/noise sets live at gigs for about a year now, using a combination of Octatrack, Analog Rytm, and a couple of synths (Blofeld and Yamaha DX200). For the most part, the OT is the master sequencer/brain. I’m getting to a point with my machines where I am able to produce sets I really like, but they’re pretty complex, especially because I use a variety of different methods to transition between “movements” and do a lot of sample mangling and performance stuff on the OT. I know some folks like to improvise, but that’s not in the cards for me and the way I work; sometimes I need to turn an encoder to a specific value or do a bunch of scene changes in a specific order to get the desired effect. So I end up with a composition with like 100+ “changes” that have to be executed in a specific way. I know electronic music is an art and not a science, but my set won’t sound good if I don’t execute it in the way I composed it. So my question is: how do you annotate your compositions so that you remember how the heck to execute them? I used to just try to keep everything in my working memory and practice over and over but as I start to play longer sets more often, I find it doesn’t scale.
I usually just write a few pages of chicken scratch notes in a notebook (example: “switch to bank 2 ptn 5 on OT and bring in HH on AR w cutoff @ 75”) but I would rather see it portioned out in a more digestible way when I’m trying to perform… Has anyone come up with a really clever/efficient method of annotating all of the different things to be done on their machines? Like a spreadsheet? Perhaps some symbol annotations a la Vangelis?
once ive sketched down a tracklist, i practice playing the songs separately from start to finish, then i practice tying them together, and then i practice the set from start to finish.
any mistakes i make or info i’d like to definitely remember, i just masking tape any space on my instruments and sharpie the deats.
eventually when practicing full sets you find yourself not having to look at the notes so i remove them and add any notes that are pure essential.
to summarise: 1. jot down a tracklist. 2. practice in bitesize chunks. 3. tie those chunks together once you’ve perfected each one. 4. masking tape any equipment you’ll be taking live with notes to help guide you through the set. 5. practice again and again and again until it’s all second nature and the notes are redundant. 6. change the notes to make them more relevant to what yr lacking or doing wrong in your practices
I only note the starting patterns/presets for each track/segment and rely on muscle memory for the rest. This means i ll have a hard time rebooting a set i haven t played for a while. In that case i won t try to completely recreate it but edit and practice a new version.
Btw, for each track i do keep more detailed notes (routing, bpm,…) but they don t go in my live set notes. They are not at the level of parameter transitions though. Maybe i should start making m more detailed…
I use the Digitakt as the brain for sequencing, internally its audio tracks and externally the four midi tracks. There‘s no other devices running any sequences in "parallel“ to the Digitakt. It‘s nice, avoids confusion, everything coming very neatly from one place. The Digitakt’s audio & midi tracks all have the same purpose throughout the whole set, such as track 1 being kick, track 2 being a “slow” hat, etc.
I try to keep as close as I can to one patter per song on the DT, otherwise I just add A B C to the end of its name. The patterns are ordered chronologically, pretty straightforward. I guess it’s easy to organise everything with such a small setup.
On hardware effect units I use some tape and marker to highlight the sweetspots. But I tend not to make too many such markings, as it can get a bit confusing which sweetspot corresponds to which sound or song. If possible I even build the sound source around one of these markings, in order not to introduce yet another sweetspot.
But I somehow like putting tapes with markings on gear, the tape has a nice character. One could say it… adds warmth
I came up with a system for annotating my livesets, and will be happy to share if you like. Before I do, though, I wanted to ask about one thing you say in your post:
If you’ve got this many specific changes that you need to make, and you work with the OT as your setup’s brain (as I frequently have), you might consider letting the arranger do some of the work for you. I say this as someone who does not work with the arranger himself
Consider how much of these numerous changes fall into the category of things the arranger can do, such as mutes, multipattern loops, etc. The arranger may not be your cup of tea (it isn’t mine) but maybe you’d rather spend more of your precious onstage focus on stagecraft like parameter tweaks, live keys solos, eye-to-eye audience connection, etc.
I don’t know your music, but it sounds like even if you outsourced some of the structural changes you’d still have plenty to keep you occupied, and it would keep whatever cheatsheet you decide on manageable and readable.
I build a set with the OT as the boss of everybody involved, so I generally just have to punch in the next pattern as I go along. What I have trouble remembering is my slider scenes, so I usually have a little notebook that tells me what they are. Once in a while I’ll write down an important cue or “tweak amp decay” type reminder.
I have yet to perform as a solo artist doing electronic music , so in a sense this is how I do it from a band perspective. Everything I do (as a drummer) has to be 80% scripted (depending on the band). So , due to this I have all the structures right beside me and what happens. So the way I think about the composition when playing live is , what is playing now? What is transitioning. While I’m playing the piece. If I had a master sequencer I would have a plan and name for each section via your main controller/sequencer so it all changes at once and you can switch with and what “improvised” part you will have with it. So I would have all my sequences prepared for each new section of the track . However I would also have already planned my “improv” parts to , to a large extent. e.g I have delay going in a segement. I get to mess around with effect then , HOWEVER , I will of meticulously practiced what I am going to do so , I know I will get a good result in the end of it (but I can still mess around). I think this works with highly structured music and its how I approach things. Again this is some advantages to this too , so you could improv the sections you move to so you have planned keeping things new and fluid as well. I always try to work with limited options , so less can go wrong and when I am improving , I know only so much can go wrong but also have a fail safe planned.
Hopefully this makes sense!
I don’t document the patterns for the live set. I organize the patterns in sequential order. Song #1 of my set will begin with Bank A, Pattern 1 and will typically end with Bank A Pattern 16. I don’t leave stuff disorganized so that I end up with my set opener beginning on L7 and ending on L2 or whatnot. This simplifies things for me. Played left to right as you say.
Similar audio elements cluster around individual tracks across all Banks. For example: bass drums are Track 1, snares are Track 2, etc., this way I don’t have much guesswork should something go wrong.
I’m wondering if you’ve considered using the Arranger on the OT so you have a solid sequenced foundation going that allows you to focus on the AR and other synths? It could be liberating to have one box running through its pace without you having to remember to nudge patterns.
