Workflow suggestions for live set

Bleie · 2015-05-27T21:19:30.000Z

Hi,

I am trying to build a live set using the AK and an ESX-1, with AK sending clock to the ESX-1. I am wondering how you organize your set with the AK… is it all one project or do you break it up into multiple projects… and if so, why? I am aiming to have about an hour’s worth of material and I want it to flow nicely.

snowcrash · 2015-05-28T06:09:22.000Z

I just recently did a gig around 70 minutes with the A4 and the ESX.

I took the ESX as master though because it can store tempo-settings per pattern and I had some tempo/scale changes during the set so that worked out quite nicely. What I experienced though was, that the Clock of the ESX is faster than it can produce sound. So the ESX has some minor latency. It’s not that wild, but its always a bit late. It was only noticeable in one track so I just filtered some transients on the A4 and it worked out very well. At least the crowd didn’t mind at all

Ad patterns: I guess it highly depends on your material how to organise the workflow on both machines. I used the ESX as drummer only and the patterns on the A4 were very minimal, little pattern changes mostly worked with mutes and performance mode. So I had only one project for the A4. If one would need to use multiple projects one should consider loading times. So it might be a good choice to use the ESX as a master so at least some music could keep running on. I can’t remember right now if the A4 will stop when loading projects. but I guess it won’t be that smooth. It’s easy to resync them when the ESX is the master, just hit the |< button on the first beat.

Anyway, so what I basically did, was to make heavy use of the ESX’s pattern sets. There’s plenty of storage for a full set. I used the ESX as a drummer only, so I made plenty of pattern variations and basically put 2-3 tracks on one pattern set. E.g Track 1 on Steps 1-8, Track 2 on Steps 9-16 etc. I just made sure to use the same entry points for tracks/transitions so new tracks always start at least on 1,5,9,13, that way I don’t need to write them down. (If a track has less variations than slots in the pattern set, I just put the last pattern a couple of times until the next 5,9,13)

I also used the Electribe Open Editor to give all the patterns the proper track name so I don’t get confused live (hate to use cheat sheets live, but it might help).

As for the A4 I did it in a similar way, organised patterns on a bank or two. I usually plan the track order in advance so on both machines it was from left to right. I did not use program changes or anything like that with just two machines it’s easy to switch in time, especially when using direct jump mode.

Well, that’s basically it. I had a great flow that evening. Actually the whole set was lots of improvisation as I only did the drum tracks on the ESX the night before (I usually play with a live drummer, but he got sick). Anyway, I think both machines play along quite easily. Hope my experiences could help a little.

Bleie · 2015-05-29T02:11:00.000Z

thanks!

AdamJay · 2015-05-29T12:17:20.000Z

A4/AK will, indeed, stop the sequencer when loading a new Project.
It doesn’t take too long though. Around 6 seconds.
While that is a manageable amount of down time for a live sequencer, I still prefer to have my entire set in a single project.
.
Each of my tunes use 4 patterns, and all of the performance knobs. With the use of mutes and performance knobs for variation, I can get a song out of 4 patterns or less. Some of the performance knob settings I have come up with can completely change the vibe of a song. Other little tricks I do for variation is a little live sequencing of fills, followed by the Reload Pattern command, or I’ll shift all notes on a track left, then right.
This is all done with the goal of getting the most out of just 4 patterns, because this way I can fit 32 songs in a single project which is around 90+ minutes of music.
.
My other recommendation is before every gig to make a copy of your project for that performance only. That way you can take things far out with tweaks and variation and not have to worry about its saved state during performance, and still have the original in tact.

snowcrash · 2015-05-29T12:33:04.000Z

""AdamJay"":

My other recommendation is before every gig to make a copy of your project for that performance only. That way you can take things far out with tweaks and variation and not have to worry about its saved state during performance, and still have the original in tact.

^ this!

Absolutely essential. That way you just can let go live tweaking away to your liking. I found myself very cautious while creating patterns and still having that cautious feel during rehearsals when I found out I could just do whatever I want using projects as a backup-tool.