This allows for very localized sources, as opposed to the XY panner and sends route which blends across speakers as it moves.
I also assign many channels to go out to just one of the surround sound speakers, as you can see in the screenshot of part of a surround live set I built for Presences Electroniques Festival In Geneva. I assign this to Lemur controls so that I can throw things around live, but what I find more useful is to assign LFO’s to the X and Y coordinates which can generate some really nice cyclic movement patterns. The more speakers you use the better the positional flexibility, although Ableton only currently has a maximum of 12 return channels, so that’s the speaker number limit using this technique. The plugin activates the sends accordingly to output the correct balance across all of the speakers in the room to give the best possible illusion of the sound coming from that position. You input the position of each speaker in the space, and which return channel it corresponds to, and then the position or movement you want for any given sound (something I usually control live or with LFOs).
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Then there’s an “XY Send Nodes Circlepan” Max for Live plugin available for free on the Max user database which can drive Ableton’s sends in order to move sounds around a space. Running this from Ableton relies on using the return channels for outputs, which currently gives a maximum of 12 possible channels. The most basic of these is my home-made surround sound show which is designed for clubs with six or eight speaker stacks relatively evenly spaced around the room. I love the effect of being wrapped up in sound, so I’ve experimented with several different types of immersive audio shows. And I use a Novation Launch Control XL for laser-specific controls, like adjusting the color balance, size, and brightness of the 3D image.ĬLICK ON A PHOTO TO ENTER GALLERY BROWSING I also use an iPad running Lemur, for live drumming and sending fast editing/glitching effects to the laser control. This allows us to set up many different forms in the 3D space, which can be triggered and manipulated from the Ableton set as I trigger clips and manipulate the audio using an Akai APC40. I run my live set with Ableton, as usual, and have MIDI clips set up on scenes in Live to send control messages to a separate laptop running Pangolin Beyond, which controls the laser.
I’m always trying to find ways of bringing visual experiences to my shows, but I wanted to escape the standard screen format, so I started working with some architects-Satyajit Das and Regan Appleton-on a new technique for creating a three-dimensional field of points of light, using a laser and a special form of three-dimensional screen they invented. XLR8R Couldn't find the embed function for type: "vimeo" and source: "". You can find more information and tickets to MUTEK here. Max Cooper will be performing alongside Beatrice Dillon, Lotic, Zip, Daphni, Helm, Aurora Halal, Harvey Sutherland, Robert Henke, Africaine 808, Marie Davidson, and more at this year’s MUTEK Montreal. Thus, instead of detailing the minimal setup behind Cooper’s work, this month’s Live Essentials explores the technicalities and processes behind each of his different live performances. Having launched Emergence-a highly ambitious and visually-focused project that tells the story of how “everything comes from (almost) nothing”-around four years ago, he’s since developed four other live sets, which he performs at different venues around the world depending on the venue and the occasion-all while maintaining a setup that requires no extra luggage at the airport. In truth, even if you’ve seen Max perform more than once, there’s a high chance that they were rather different experiences. Though one of the most acclaimed live acts out there, it’s not easy to do a Live Essentials with Max Cooper, the Belfast-born, London-based DJ, producer, and scientist explains. “I focus on the experience of the people attending rather than the kit I use,” he explains, adding that he limits his setup as much as possible to allow him to fit it into his hand luggage. “It smoothes my travels and avoids lost or damaged equipment so that my shows are reliably delivered.” Detailing the gear behind his work would, therefore, be a very short read, so we had to adapt the format somewhat.
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