pre aranged live set

[misclickmusic]

So I watched this clip of Avalon Live and was noticing that in hes ableton the songs was arranged ore something, I guess they where mixed in the program as well ready to go, ore I am wrong? I'm just curious because I gonna play my first time very soon and I wanna make it as good as possible, I'm a newbie using the sync button but are practicing beat matching as well. As long the set sounds good It's good? I honestly thought all the big psy artists was Dj'jing on stage, but when I saw this i got confused. Would appreciate some insight to this. thanks

 

 

Clip

[Imba]

Most of artists are using prepared sets in Ableton, already synced/beatmatched etc... and a lot DJs also use Ableton because sync option and also DJ controllers. But then there are people who want do it old school, playing melodies live, beatmatching live etc... everything depends of your wish and skill.

 

If you are not skilled with beatmatching on players better use controler and Traktor and do SYNC or with Ableton. Better have prepared set than make a lot mistakes (this doesn't mean you record whole set in audio and burn to CD ). After all people just want music keep rockin.

 

Speaking of 'LIVE' sets there are some unwriten standards, that you must use laptop for them (specially for bigger parties/festivals). Now i use Ableton ofcourse on laptop and i arrange tracks at home, make all tracks beatmatched. I do this because i don't have proper gear nor knowledge for doing it another way. But it's not fast/easy job too. It took me like 4-5 hours (minimum) just to sync tracks and make good transitions etc..

 

 

I hope this helps a bit

[misclickmusic]

Thanks for the answer, that makes sense. So everything is about personal preference then. But when you are done mixing and syncing your set in ableton what do you do on stage then? If the mix is already done, press play and add extra effects n vocals? I agree, as long the music is rocking and people are dancing in joy it doesn't matter I guess. we are always evolving

[Guest The Hypnotic LFO Room]

There's a lot you can do. I have my set (3 hours) arranged in clips so I can manipulate, play live on top and control everything and basically make a new live-performance on the fly with full control of various elements such as Kick, Bass, Synths, percussion etc.. It does take a long time of preparation and if you as I work outside Ableton Live (example Cubase) then it also take a lot of work to migrate the studio work to Ableton.

 

I suggest you view these videos. When I started out performing with Ableton they helped me a lot to get a setup that is so much more than hitting "enter".

 

A last advice. When performing with a laptop get a USB 2 or 3 stick (preferable 64gb) and save everything to it + all samples and play from the USB stick. This way you won't get Disc Overload or have to add "Ram" to each sample. It will run smoothly and not crash

 

 

 

 

[Padmapani]

If the mix is already done, press play and add extra effects n vocals?

no. the usual way is to press play and pretend to be doing something to the sound (i.e. turning knobs on a mixer that isn't even plugged in, playing notes in a keyboard that isn't plugged in, staring intensely at the screen while bobbing your head, ....)

 

it's up to you to set your standards higher and add yourself to the list of execptions to the rule of lazyness and pretending

[Guest The Hypnotic LFO Room]

By the way that video is NOT live. It's hands in the air jumping around telling people "Look no hands". Till this date I still wonder why people accept such scams.

[misclickmusic]

There's a lot you can do. I have my set (3 hours) arranged in clips so I can manipulate, play live on top and control everything and basically make a new live-performance on the fly with full control of various elements such as Kick, Bass, Synths, percussion etc.. It does take a long time of preparation and if you as I work outside Ableton Live (example Cubase) then it also take a lot of work to migrate the studio work to Ableton.

 

I suggest you view these videos. When I started out performing with Ableton they helped me a lot to get a setup that is so much more than hitting "enter".

 

A last advice. When performing with a laptop get a USB 2 or 3 stick (preferable 64gb) and save everything to it + all samples and play from the USB stick. This way you won't get Disc Overload or have to add "Ram" to each sample. It will run smoothly and not crash

Big up, good information, thank you I honestly did not know this and my view on it has changed, I do have Ableton but haven't played with it to often. Looks like this is a lot of stuff to get into, not gonna happen over night I guess. This is some next level engineering i gonna check out after I have learned the basic about Dj'ing.

 

By the way that video is NOT live. It's hands in the air jumping around telling people "Look no hands". Till this date I still wonder why people accept such scams.

I guess the standards have been set a long time a go, but what do you mean with scam? Is he cheating? excuse my ignorance

[mars]

Ableton is widely misused.

 

99% artists just drop pre-recorded and studio-mastered tracks in Ableton in the order they want and press play.

So it's exactly the same as using Winamp with auto-crossfade (ie worse than djing)...but, if I may be sarcastic, the upside with Ableton is that if someone takes a photograph from behind, at least it looks like some elaborated sound production software is running on the laptop... so yes we can talk about a scam wrt the "live performance". Most are just waiting for the music to unwind and have nothing to do except smoke a cigarette or drink a beer or wave their hands.

 

Though, there's 2 sorts of artists within this first category:

- Those who play released tracks...why do they even show up you might ask? Those are the only ones to really blame imo.

- Those who play unreleased or remixed music, that is, did a substantial effort at making the performance remarkable upfront. Seen the amount of work, most would probably play completely live if they could, but it's not easily doable if they still use analogic synths or compose with other software. Working that way is fair imo. Also a lot of them are production quality maniacs, so working that way enables them to studio-mastered music. Okay.

 

The second category of artists add a synth or a few fx on top. They're very few. These have some use for their hands once in a while.

 

The third category of artists, which are extremely scarce, play really LIVE using Ableton (ie: individual layers and loops played and mixed at will during the performance to produce something entirely new, ephemeral and unique).

 

 

From my experience, the most an artist plays, the less time he has to spend on preparing live performances. Also, the bigger the parties, the less artists will take risks (computer hanging, bad mixing/sound quality), so they will rather play something static but which is guaranteed to have a good sound quality as it was mastered in a studio.

 

In any case, let's not be too harsh. All these guys have spent countless hours producing their tracks in their studio with complex tools. So using Ableton for the purpose it was designed would really be no problem. Yet as I said above, they might not be able to play in the same conditions as in their studio, and also, many (really MANY) are nerds who are paralyzed at the prospect of playing their music in front of actual people (or they're drunks), so they choose the easiest/safest way that guarantees no fuckups.

[manmademan]

Hi everyone, been a long time since I posted here It was actually this thread that reminded me to sort out how to login again. I've been wondering about the Ableton thing also since our recent gig. I noticed artists using Ableton and wondered how much it was allowing them to alter and manipulate their sets on the fly. After checking it out I don't actually think that much, and I am in no position to judge as like pretty much all artists we are also guilty of this. That being said, we have decided to try a more hands on approach if possible, not like the old days where we pretty much took our whole studio out only to have it broken at airports, but a more modern way to have more control and ability to flex with the vibe on the dance floor as it happens. Ableton is the way to do this. I think a good starting point is to start in effect remixing ones tracks live, cut sections up, create new midi lines, trigger those and effect via a controller. It's something we are now looking at seriously and I think in the long run will be a much better experience for everyone, ourselves included. Personally though, I have no issues with artists doing what they do however they do it, after all they are there, yes holding their hands in the air instead of fiddling with a knob, but they are connecting with the crowd, and also importantly hearing how their music works outside of the studio. I love watching artists engage with crowds like this and with their music, they are not just doing nothing, they are connecting. They spent days in studios making tunes, years even, so I say go for it as long as the music gets out and everyone is enjoying it.

[Colin OOOD]

It's obviously vital that the music sounds good. It's also important to ask yourself if you'd be satisfied as an artist with just pressing play and then pretending to tweak knobs, and whether the audience deserves more from you if you're going to tell them you're 'live'. Imagine how you'd feel if someone who loved your music came up to you after your set and was interested in the technical aspect of your performance, and what you were actually doing on stage... could you answer them honestly? Without being embarrased, even a little?

 

As far as "connecting with the audience" goes, nothing connects a performer more with the audience than when they can see you actually doing stuff with your hands that they can actually hear; that's when they know they're part of a magic moment of creation. How you get there is up to you

[manmademan]

How do you do it Colin? Can you really tell me you never once pressed play? By the way, I never tell anyone we are "live" other than live in person. I think this bashing of artists trying to get there music out there must stop, "the audience deserves more from you " do they, we give our all to our best abilities at the time, don't we all?

 

Do you really think the "audience" is watching you, or just dancing?

 

"and what you were actually doing on stage... could you answer them honestly? Without being embarrased, even a little?"

 

Yes we could. I would say, "we are playing our music in person, we are here, as best we can right now, with you, loving it, loving the vibe, trying to connect, still here, still with you, not embarrassed at all. What were we doing on stage? Trying to touch your heart, yes I know it sounds woo, but that's just us, that why we keep going"

[Imba]

It's obviously vital that the music sounds good. It's also important to ask yourself if you'd be satisfied as an artist with just pressing play and then pretending to tweak knobs, and whether the audience deserves more from you if you're going to tell them you're 'live'. Imagine how you'd feel if someone who loved your music came up to you after your set and was interested in the technical aspect of your performance, and what you were actually doing on stage... could you answer them honestly? Without being embarrased, even a little?

 

As far as "connecting with the audience" goes, nothing connects a performer more with the audience than when they can see you actually doing stuff with your hands that they can actually hear; that's when they know they're part of a magic moment of creation. How you get there is up to you

 

Playing melodies live... but what if you didn't have piano lessons before?

 

I never had wish to learn playing. Not even now after 6 years of producing. Actually my musical theory is very looow, i don't have interests for that

Basicly i learn from what i done already, or what someone shows me/teach me.

 

3 years ago we played in Budapest... we had one midi with maaaany effects programed and organizer had Elektribe not sure which one... that was my first time i got in touch with hardware synth... was just testing at his place for 5-10 mins and went to party. We used it for live somehow. It was damn hard because i didn't know keys of our tracks but i was able to hear and put right one. So i basicly used paterns/presets that are default and tweaked them non stop, editing etc... 60 minutes of non stop doing something, improvising because i was noob for that stuff, total amateur! But it was damn funny, i really enjoyed it. Making kind of live remixes or whatever. Sadly, after we had just midis to drop some fx here and there.

 

That's what i would love to do once i get proper gear. Making new midis over tracks, programming them for live tweaking or arps like you can do in Phoscyon for example and ofcourse some FX. Maybe some extra drum loops... ofcourse it's not perfect but that would be best with my knowledge.

 

And mostly i make new track or tracks for new gig if possible if they are not too close and i have enough time for that. I have lots of unreleaseds in every set.

 

 

And yes, important thing is that you should go wild, that's what people want to see too

[manmademan]

Ok, look at this:

 

 

Is he doing nothing? Is he a fraud? Or is he putting out total energy, and the crowd love that connection alongside the music? Isn't he the biggest most loved artist out there at the moment? So ask your self why? I know.....

[Purple Sunray]

Ok, look at this:

 

 

Is he doing nothing? Is he a fraud? Or is he putting out total energy, and the crowd love that connection alongside the music? Isn't he the biggest most loved artist out there at the moment? So ask your self why? I know.....

 

+1

 

Also prefer the one pushing play on a pre-arrange set (but interacting with the growd) over the one that is busy with his kobs and doesn't even notice the ppl on the floor.

(+2 for the ones that make it both together... very few though )

[Guest The Hypnotic LFO Room]

What if you are not a "jump up and down on stage and wave your hands to the music" kind of artist?

I've never been a very active artist or DJ on stage in the sense that I do not jump around or dance wild on stage. I concentrate on playing the right kind of music at the right time and connect musically with the people on the floor. So my lack of wild dancing on the stage does not mean I do not connect with people on the floor. On the contrary I have made people fly and taken them on journeys from my usually long sets. We have been one! And I guess if they did not like my non-active appearance they would have left the floor or thrown rotten tomatoes at me

Speaking from a musician's point of view I do not feel good at all about hitting start. I feel naked and very vulnerable. I need to get my hands on the music and feel that I do my very best to make people experience a unique time with me and my music. To me the answer is to remix my music on stage "live". It is of very big importance to me that I give my audience something different and unexpected from the last set I played.

[Imba]

For me most funny is Agneton on stage he don't play but daaaance:

 

 

2:28 - look at that reaction! I believe you must send your energy to crowd and they will return it to you!

[JISNEGRO]

 

+1

 

Also prefer the one pushing play on a pre-arrange set (but interacting with the growd) over the one that is busy with his kobs and doesn't even notice the ppl on the floor.

(+2 for the ones that make it both together... very few though )

 

Well, then I am one of the other kind of guy that prefers this

 

[technosomy]

 

Well, then I am one of the other kind of guy that prefers this

 

 

+1

[technosomy]

i will take these guys any day over most so called LIVE artists

 

my favorite group

 

it's not goa.... but these guys fill rooms standing with albleton lectures, not to mention helping develop their software

 

[Colin OOOD]

How do you do it Colin? Can you really tell me you never once pressed play?

I've done it again, haven't I. Me and my big fucking mouth.

 

Opinions follow Not directed at anyone in particular.

 

#if rhetorical question then skip_to tl;dr

Ok so... how do we do it... Since about 2000 we've always played with live instruments over the top of playback; I do the same with my sideprojects. Between 1994 and 2000 we would take the entire studio on stage and alternate between full-live sequenced tracks playing back off Cubase into synths and samplers, and DAT playback whilst we set up the synths and samplers and sequencer for the next live track. Towards the end of that period I got a hard drive for the sampler and worked out how to auto-load instruments using program change messages, which let us play three live tracks in a row. We had to stop doing it that way when we started to work with multitrack audio as we were using the studio completely differently and it just wouldn't work on stage.

 

Apologies if the following is too much information haha... OOOD has 'pressed play' exactly three times since 1994, all in the days before we had a laptop. The first time was in 1995, when we booked an OOOD live set in our home towm of Oxford without realising that Steve and I were actually due to be in India at the time. Nigel, our third member, enlisted two of my housemates and took the mixer, a bunch of analog synths and the DAT player out of the studio and played the set off tape with them miming. Nige would have been doing his normal Synthi lunacy over the top. We called it 'Out Of Our DAT'. The second time was in 1997 when we were booked to play in Athens. A fuckup with the tickets meant we had to buy our own, and we only had enough money for one of us to go, so I went. It was mortifying. They'd kindly brought in a couple of really nice synths (Juno 106 was one) but had neglected to supply cables or a mixer. The less said about that the better. The third time was in about 1999 when we played of CD in a small pub, also in Oxford. That one was a choice, but we all agreed afterwards that not having any interaction with the music just felt wrong. If we'd said it was a DJ set it would have been fine but it was a last-minute gig and they really wanted us to play live, but we were like "nah, the place is tiny, there'll be hardly anyone there, anyway we're halfway through a track and if we move the studio we'll never get it sounding the same", so then we were like "ok fuck it we'll mime like The Secret do" but then we were like "shit the place is packed and everyone we know is here and they all expect us to do what we normally do".

 

tl;dr - The idea of 'pressing play' has honestly never occurred to us as a reasonable proposition, even from the very beginning, mainly because when we got together as a band we already had between us a fair bit of experience with live electronic music and the idea of not playing as live as we could every single time just never entered our heads. The times when, through circumstance or choice, we played pure playback were all associated with negative experiences. It feels like that as musicians it is axiomatic that our live performances involve some degree of actual live interaction with our music. I know I can speak for the other guys in the band here as well as Mark, my ex-partner in Kleesh.

 

By the way, I never tell anyone we are "live" other than live in person. I think this bashing of artists trying to get there music out there must stop, "the audience deserves more from you " do they, we give our all to our best abilities at the time, don't we all?

I can see how you might find me exasperating, I really can, and I'm sorry about that. I'm not bashing artists trying to get their music out there - at least, that's not my intention. There are loads of ways of getting your music heard, from playing live to DJing to working closely with DJs to playing producer sets. But having taught music technology to primary- and secondary-school kids for 10 years, I just find it amazing that if it's possible for all four groups of three 10-year olds at a particular school to each write a song in Ableton and then perform it live to their whole year group using Session View and a bunch of MIDI controllers triggering clips, it's so hard for some psytrance acts who call themselves 'live' to get even a little bit of interactivity in their sets.

 

I'm not necessarily talking about doing what we do, or what Tom Cosm does, or any specific way of getting your hands involved in making the magic on the dancefloor, but I am trying to encourage - however clumsily and inappropriately - people who want to perform 'live' to put a little thought into how they are going to "use their best abilities at the time" to actually perform live in some way, because apart from the truth-in-advertising aspect I believe it's far more fulfilling both for the performer and for those on the dancefloor who are interested (in whatever technical or non-technical way) in what is happening on stage and how it relates to what they're hearing.

 

It opens the door for the unexpected moment of genius... the spontaneous moment or even the mistake that gives everything a lift and can energise an entire dancefloor but is only made possible if you allow an element of risk. People bang on about co-creation but for me - and, I think for many (most?) musicians who can play instruments or who use technology to introduce some interactivity to their performances - the stage is where we engage our hearts and co-create with the dancefloor at least a small aspect of their musical experience in real-time, then and there, in a way simply not possible by definition with pure playback. And I think to myself, how can anyone deny the importance of that? I guess that's where my not-being-able-to-stop-bringing-it-upness comes from.

 

Do you really think the "audience" is watching you, or just dancing?

 

"and what you were actually doing on stage... could you answer them honestly? Without being embarrased, even a little?"

 

Yes we could. I would say, "we are playing our music in person, we are here, as best we can right now, with you, loving it, loving the vibe, trying to connect, still here, still with you, not embarrassed at all. What were we doing on stage? Trying to touch your heart, yes I know it sounds woo, but that's just us, that why we keep going"

Can't say fairer than that, I guess

 

The music is there to be danced to, no question, but let's face it, you and I and everyone else are on that stage between the speakers with everyone dancing in front of us (indeed, mostly facing us these days) at least partly to be seen, to be identified as the source of the music; if that weren't true we'd find other ways to get our music played at events which would mean we'd get a chance to experience it through a big rig too ...and with obvious exceptions our scene gives more kudos from being identified as someone who makes the music than from 'just' being a DJ.

 

While I can therefore understand the temptation, I can't picture myself actually telling a thousand people, or ten thousand people, or ten people that I/we are playing 'live' when the only thing live on stage are the performers. I admit I might be wierd in that regard, however. Obsessive in terms of integrity. And yes, sometimes it's the promoter who decides how the act is billed, but it's my experience that increasingly often promoters now ask acts how they want their bit of the flyer to read, so artists are more involved than ever in how their participation is marketed.

 

Playing melodies live... but what if you didn't have piano lessons before?

I was deliberately unspecific about what constitutes 'live'ness, but I think you answer your own question for yourself below

 

That's what i would love to do once i get proper gear. Making new midis over tracks, programming them for live tweaking or arps like you can do in Phoscyon for example and ofcourse some FX. Maybe some extra drum loops... ofcourse it's not perfect but that would be best with my knowledge.

Plenty of scope for magic... and mess, but then that's what practise is for Stick with it!

 

...Or is [Tristan] putting out total energy, and the crowd love that connection alongside the music? Isn't he the biggest most loved artist out there at the moment? So ask your self why? I know.....

Absolutely. But that's independant of how it's described. Tristan, being the driven genius showman that he is, would be as successful even if he described his performances as 'producer sets'. Using the word 'live' however lets him tap into associations that we all have with 'live music' - bands, concerts, instruments, musicianship, spontenaity, real-time raw creativity - to imply that this is the kind of thing that's going on, albeit in a much more esoteric and technical way given the nature of the music. If that's not what's happening, is 'live' the best way to describe it?

 

 

 

 

tl;dr Truth in advertising is important; literal live performance is easier than you think and can add hugely to the experience; there's more than one way to skin a fish; humans are wierd and amazing.

 

I feel an affinity with Don Quixote at this point! All with love. I'll try and get back in my box now.

[technosomy]

I've done it again, haven't I. Me and my big fucking mouth.

 

Opinions follow Not directed at anyone in particular.

 

#if rhetorical question then skip_to tl;dr

Ok so... how do we do it... Since about 2000 we've always played with live instruments over the top of playback; I do the same with my sideprojects. Between 1994 and 2000 we would take the entire studio on stage and alternate between full-live sequenced tracks playing back off Cubase into synths and samplers, and DAT playback whilst we set up the synths and samplers and sequencer for the next live track. Towards the end of that period I got a hard drive for the sampler and worked out how to auto-load instruments using program change messages, which let us play three live tracks in a row. We had to stop doing it that way when we started to work with multitrack audio as we were using the studio completely differently and it just wouldn't work on stage.

 

Apologies if the following is too much information haha... OOOD has 'pressed play' exactly three times since 1994, all in the days before we had a laptop. The first time was in 1995, when we booked an OOOD live set in our home towm of Oxford without realising that Steve and I were actually due to be in India at the time. Nigel, our third member, enlisted two of my housemates and took the mixer, a bunch of analog synths and the DAT player out of the studio and played the set off tape with them miming. Nige would have been doing his normal Synthi lunacy over the top. We called it 'Out Of Our DAT'. The second time was in 1997 when we were booked to play in Athens. A fuckup with the tickets meant we had to buy our own, and we only had enough money for one of us to go, so I went. It was mortifying. They'd kindly brought in a couple of really nice synths (Juno 106 was one) but had neglected to supply cables or a mixer. The less said about that the better. The third time was in about 1999 when we played of CD in a small pub, also in Oxford. That one was a choice, but we all agreed afterwards that not having any interaction with the music just felt wrong. If we'd said it was a DJ set it would have been fine but it was a last-minute gig and they really wanted us to play live, but we were like "nah, the place is tiny, there'll be hardly anyone there, anyway we're halfway through a track and if we move the studio we'll never get it sounding the same", so then we were like "ok fuck it we'll mime like The Secret do" but then we were like "shit the place is packed and everyone we know is here and they all expect us to do what we normally do".

 

tl;dr - The idea of 'pressing play' has honestly never occurred to us as a reasonable proposition, even from the very beginning, mainly because when we got together as a band we already had between us a fair bit of experience with live electronic music and the idea of not playing as live as we could every single time just never entered our heads. The times when, through circumstance or choice, we played pure playback were all associated with negative experiences. It feels like that as musicians it is axiomatic that our live performances involve some degree of actual live interaction with our music. I know I can speak for the other guys in the band here as well as Mark, my ex-partner in Kleesh.

 

I can see how you might find me exasperating, I really can, and I'm sorry about that. I'm not bashing artists trying to get their music out there - at least, that's not my intention. There are loads of ways of getting your music heard, from playing live to DJing to working closely with DJs to playing producer sets. But having taught music technology to primary- and secondary-school kids for 10 years, I just find it amazing that if it's possible for all four groups of three 10-year olds at a particular school to each write a song in Ableton and then perform it live to their whole year group using Session View and a bunch of MIDI controllers triggering clips, it's so hard for some psytrance acts who call themselves 'live' to get even a little bit of interactivity in their sets.

 

I'm not necessarily talking about doing what we do, or what Tom Cosm does, or any specific way of getting your hands involved in making the magic on the dancefloor, but I am trying to encourage - however clumsily and inappropriately - people who want to perform 'live' to put a little thought into how they are going to "use their best abilities at the time" to actually perform live in some way, because apart from the truth-in-advertising aspect I believe it's far more fulfilling both for the performer and for those on the dancefloor who are interested (in whatever technical or non-technical way) in what is happening on stage and how it relates to what they're hearing.

 

It opens the door for the unexpected moment of genius... the spontaneous moment or even the mistake that gives everything a lift and can energise an entire dancefloor but is only made possible if you allow an element of risk. People bang on about co-creation but for me - and, I think for many (most?) musicians who can play instruments or who use technology to introduce some interactivity to their performances - the stage is where we engage our hearts and co-create with the dancefloor at least a small aspect of their musical experience in real-time, then and there, in a way simply not possible by definition with pure playback. And I think to myself, how can anyone deny the importance of that? I guess that's where my not-being-able-to-stop-bringing-it-upness comes from.

 

Can't say fairer than that, I guess

 

The music is there to be danced to, no question, but let's face it, you and I and everyone else are on that stage between the speakers with everyone dancing in front of us (indeed, mostly facing us these days) at least partly to be seen, to be identified as the source of the music; if that weren't true we'd find other ways to get our music played at events which would mean we'd get a chance to experience it through a big rig too ...and with obvious exceptions our scene gives more kudos from being identified as someone who makes the music than from 'just' being a DJ.

 

While I can therefore understand the temptation, I can't picture myself actually telling a thousand people, or ten thousand people, or ten people that I/we are playing 'live' when the only thing live on stage are the performers. I admit I might be wierd in that regard, however. Obsessive in terms of integrity. And yes, sometimes it's the promoter who decides how the act is billed, but it's my experience that increasingly often promoters now ask acts how they want their bit of the flyer to read, so artists are more involved than ever in how their participation is marketed.

 

I was deliberately unspecific about what constitutes 'live'ness, but I think you answer your own question for yourself below

 

Plenty of scope for magic... and mess, but then that's what practise is for Stick with it!

 

Absolutely. But that's independant of how it's described. Tristan, being the driven genius showman that he is, would be as successful even if he described his performances as 'producer sets'. Using the word 'live' however lets him tap into associations that we all have with 'live music' - bands, concerts, instruments, musicianship, spontenaity, real-time raw creativity - to imply that this is the kind of thing that's going on, albeit in a much more esoteric and technical way given the nature of the music. If that's not what's happening, is 'live' the best way to describe it?

 

 

 

 

tl;dr Truth in advertising is important; literal live performance is easier than you think and can add hugely to the experience; there's more than one way to skin a fish; humans are wierd and amazing.

 

I feel an affinity with Don Quixote at this point! All with love. I'll try and get back in my box now.

nicely said

now back in your box!!!

[manmademan]

wow,thanks for the answer Colin.. I don't think an artist would say they didn't want to have control over what they are doing in their sets, as I said on my original post, but the fact is sometimes it's not always possible on a larger scale. This is why I think, as I said before, Ableton is the way forward for most.

[Panoptes]

No shame in hitting play imo. Why pretend you're doing something on stage when you could jump in the crowd and have some fun.

[misclickmusic]

This thread escalated in a positive way, thanks for all the information, mindblowing. So, do your best at stage huh? so this is the best i can do so far.

 

I mix tracks with seraton dj, pre made que points where to fade into the new track, but i also "have fun" with the main track playing, mixing in stuff from the next track, kinda trying to "hint" that this sounds will come soon, and like experimenting "live" ? if there is a long break, i almost mix the hole next track into it, but slowly mixing it out when the drop on the main track comes. i think it's really fun, sometimes you get in the zone and everything flows, that's a nice feeling. raising the bpm 1+ on every track the hole way true slowly, so the last 1 hour will be faster and everything will build up.

 

is that cool? newbie peace

 

and this is my music https://soundcloud.com/lodur-2

[NightHex]

I havent read everything ..im kinda in a hurry right now

glad to see one of my inspirational sources posting here :manmademan

as imba said ..im making music more then 15 yearn now ..no musical study whatsoever, nobody to teach me

all those albums made 100 % by myself

one dude above was complaining about something like" what do you deliver to public/ they wants to see u

doing stuffs on stage not waving hands / and so one..well..i spend half of my life doing music

and i should bold these words ..the crowd but also organisers should understand this

while they pay a fee equivalent to a couple of burgers we busted our balls making that perfect bassline

lol xd, so i know they understand this aspect

ofc they have big expectations ,its their money , but you must understand one fact :

the crowd and especially organisers when they pay money for a live act , they should pay as a respect

for all the work and hour spended on the making of the music ,not for the artist itself

i dont care he plays for winamp or with the big studio beside him

i just want to see the human being who made me shiver when listening to his music

also ..ive done everything on stage ..from pressing play to bringing hardwares on stage

machines still have glitches ..even today

also ..in one song i have like 70-90 tracks , i want to see anybody reproducing all of these with hardware synths live xd

the last aspect ..lets enjoy these events ..we are not earning thousands of dollars like big stars ..our scene its still small and a special one / just enjoy the music

peace