Strange & new setup for my close next music live performances

Explorations HAVE to be made on a real exploration mode.
You can decide to explore this or that forrest, ok, but if you want to walk close of the tree #12, then the #14, then the 143 etc you aren’t exploring, you are .. like .. working and in any case, you’ll bore yourself in a very deterministic way.

I decided to explore as protofuse, and not to determine the path before as an a priori
And it comes with some dead end, and lost moments but never really lost.

These little sentences are just about analogies with my musical explorations.
Indeed, it is light, and I could probably write a whole book about that. Maybe it will come.

I have been invited to a festival named Les Musiques by the GMEM.
You can read this about this event.
The official Theater page is here

I decided to use a very new & fresh setup for this particular event.

The hardware
I’ll use my BCR2000, the best & solidest rotary encoders machine EVER.
I never found one lighter, solider, cheaper that the BCR2000.
All knobs job will be done with it. I need knobs under my fingers for volume, fx tweaking etc.

I’ll use my monome for all toggling control.
Probably, I’ll use it to control the clips grid in Ableton Live.
I’m using it with a Python script I made a long time ago specifically for this use.
With it, I can scroll, trigger anything.
It could also be replaced by Touchable  or LivKontrol on my iPad.

Why both mentionned ? Because I didn’t choose yet.
I need a light & efficient application ONLY for clip triggering and it seems that Touchable became a bit too big by making everything which, as a digital artist but a programmer too, makes me afraid a bit.

I could also come one day with my own Ableton Live iOS application which would be totally dedicated to clip triggering, clip looping etc.
Btw, it isn’t the point here.

The software
Ableton Live for all the live stuff.
As usual, I’m composing almost everytime a new liveset.
Today, in the afternoon, I found my new way.
The one which inspires me the most.

I have, in white, rhythmic stuff.
4 first tracks are routed to DRUMS one.
I like to tweak only rhythmic parts, letting the others not tweaking.
It provides a nice way to break, but to tweak slightly too, letting parts almost independant if it is required.

The track 5 isn’t really used but is often for the bass.
Orbital sounds is my title for anything related to pads, ambient & atmospheric soundscapes.
Orbital could be a reference to a group but it isn’t at all, here.
Micro sounds is my name for anything related to noise systems.

Those titles are very subjectives. They make me feeling well and I know what kind of sound is where.

The tOOL.
Used almost only in studio, I decided to manage complex structures using some Reaktor machines on a side, and to samples some parts for performances purpose.
The way HAS to be flawless & flexible.
I need to focus only on sound when I’m composing so, using that way, I’m fast to create, & integrate into my “real” tracks for stage in seconds!

This next live
I hope you like noises & clunks!
You won’t be disappointed if you do. Else, you’ll cry, which can be odd, but if you cry loud, it could add some strange textures (but please don’t do that)

I could modelize this next performance as

“a strange travel into electronic territories with atmospheric rotating sounds, unfiltered noises all over odd rhythmics”

It will yell from the sound system
You don’t have to be afraid but it will be loud.

If you like crunchy noises, you’ll have it.
If you love smooth ethered pads & atmospheric textures, you’ll be in trance (not related to trance goa, mates)

Intrigated? Then come!
Disappointed? Then, come too, there will be beer to drink, drunk mate!

Because I still didn’t finish even really began myUniverse, I won’t have a lot of visuals to show.
So, I asked to a couple of friends artists to provide me one of their creation.
I hope they will do that.
Else, I’ll plug something nice in the VGA bus.. don’t worry.