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https://hearthis.at/mudpeople-yh/freeze-live-june-14-2018-fixed/ Been really loving that site, btw, as an alternative to SC. So far no spam in my DM box, no like-mongers, and no mumble kids. Anyway the recording is the live improv setup at work. Basically what happens during the set is selecting patches from the synths that have memory, selecting drum and Circuit patterns, patching the synths that don't have memory, making sequences for 2 of the synths, selecting melody + bass + kick lines from the rack of prewritten clips (without labels on some, most just labelled by root note), muting and unmuting various parts on various machines, making sure the levels are good and nothing is too loud (the Micromonsta has a tendency to really shred thru a mix at higher octaves, as a good wavetable should), triggering the Kaoss Pad Quad, and overall trying to keep it from sounding like an overly-repetitious 8-bar noodle-fest. I've taken a lot of trouble to make this setup VERY hard to play the same thing twice, even if I'm using the same patterns it's unlikely to be in the same key when played next time, and definitely unlikely to be played alongside the same patterns as before. Especially since 2 synths are run by generative sequencers, and 2 others (the main monos, Microbrute and Triode) are run by the ML185 Max for Live sequencer which maps almost flawlessly to the Launch Control XL. And when I get bored of any patterns I delete them to make room for new ones. Recently I had the idea of making sets of bassline clips that are meant to be something like a basis for progressing through a track, starting with one rather basic pattern then evolving it into a few more clips. It's begun to help make it feel less like just single patterns repeating. And there's no reason to feel locked into just those grouped together, they can definitely be mixed and matched. Someday though I hope to find the perfect sequencer, hard or software, that can do psytrance bass on the fly (The ML185 can do it, but is limited to either 8 16th notes, or using 1-3-1-3-1-3-1-3 stage lengths, where each of those 3s is a single stage, so a single note and single velocity, which sucks).