Here is a video with him talking about his live set set up from 2010 and is a really interesting watch: http://www.youtube.com/watch?v=GTCqeWu094I
I remember hearing somewhere that he has switch over to a complete live show since then, but I can't find a link to confirm this right now. Needless to say what he does is way more then just play some tracks that he made. Which is one of the reason he despises the term "DJ" to describe what he does.
Edit: He is also incredibly obsessed with the lights at his live show and handles the lighting including the rig himself.
Everything on his stage was choreographed down to a T including his own movements, and when the crowd coos and freaks over every single detail (some of us not believing what we were seeing), it just makes it all the more immersive. Even knowing that he puts such detail into his shows doesn't prepare you for what you see. None of the videos I've found online even begin to do it justice.
I didn't get to see ISAM when it came through, but I'd be interested in seeing how they compare in fidelity.
Daedelus (http://daedelusmusic.com/) is one of my favorite artists, not only because of his tunes but because of how much fun he has just rocking on stage with his Monome/various toys, and how it faces it towards the audience to show what he's doing, even if that's a personal positioning preference. He's also in a documentary about circuit bending available on YouTube that's worth watching called Glitch (http://www.youtube.com/watch?v=PvlYM5Js450). Your ears won't thank you, but your geek will.
Other artists that are entertaining to watch fiddle with their digital instruments are Side Brain (hacks gaming peripherals to make music), No Sir E and the ever-wonderful Shigeto.
I think essentially the argument is that "laptops are not any fun to play live with" and really, that was just a short phase of electronic music. We all did that for a few years, then found our controllers, monomes, modulars, mpcs, etc. much more fun, and have just returned to what was already there. A laptop can be an instrumachine for the right artist with the right controllers (e.g., Daedelus and his monome http://www.youtube.com/watch?v=yCzHpQtNduE) attached to it, just as an MPC + SP1200 have been the right instrumachine for hiphop (KRS-One & BDP use one next to the turntables in every concert) for decades.
=D
this goes back way before "the earlier gen synths, controllers, and laptops"
see my other comment. it's awesome you have come to this realization, but what i am trying to help you understand is that this is cyclical. it is not a revolution, it is how instruments evolve and has been for ages.
More seriously, I think this is cool, but a little overblown in someways, we've technically been able to do this kind of performance (using sliced up digital samples) for a very very long time -- decades. Digital sample machines, of many kinds of forms have been used in live shows for a long time. Think of your favorite 80's new wave band and they probably had live shows with digital synth triggering samples off of a keyboard.
I think this is more of a cultural shift than any kind of technological shift, but interesting nonetheless. The methods of playing these things is much more akin to being a drummer or an old school DJ scratchoff than anything else. But just like complaints about all modern music being overcompressed, these guys have to work off of only two performance vectors: sick beats and cool samples. There's no dynamics in the performance or playing with tonality. Glissando, spicatto, breath control, tonguing, etc. are all right out the window.
Music has been reduced to learning and playback a la guitar hero. A generation of musicians, messing around with samples from music they themselves could never perform.
We talk a lot about technology we no longer have the means to make and knowledge lost in fires and wars and natural decay, and toy with that idea in sci-fi and real life. However, today we certainly have a much greater pantheon of fantastic accomplishments in these areas.
But I wonder if we should consider a similar phenomenon with culture and cultural skills? We may be entering a time were previous cultural knowledge, like how to play piano virtuostically is lost, exchanged with how to play a sampler at similar high levels of skill. We may have lost the means to transmit that culture forward to future generations, but outside of a vague sense of loss, nobody really cares because what we have now is also vast and complex and has its own set of interesting skills that need to transmit forward.
Is this the cultural equivalent of cleaning out the memetic closet to make room for new stuff?
It reminds me of what the blue-man-group does. It's novel, a few people make a lot of money doing it, but it's not the next electric guitar by any stretch.
I think one of the core attributes of EDM is that it is performed by machines. The MPC-live thing seems like an effort to step backwards just to have something to do on stage. I'd rather listen to someone mix a 808/909/303 live. The subtle timing and tuning shifts they make are a thing of beauty (and laptops don't do this). But that's probably just my preference for techno over hip-hop/dubstep coming through.
Anyway, good article regardless.
I disagree though with the 2 vectors thing. There's a whole lot of things you can do with tonality with machines. And as for "Glissando, spicatto.." etc, well, I personally think the human voice will be the one instrument that will always be "in".
Point being, I'm most excited to see all the different vectors these machines invent.
And sure, technically we've been able to do this for decades, but it's usually been a hidden process in the studio. It's the crossover to mainstream cultural acceptance and respectibility as a performance instrument. When hardware instrumenalists move tickets, that's what's interesting to me.
http://vimeo.com/moldover/live-at-future-everything-excerpts
He ended up designing and building his own controllers using arcade buttons.
Since this is hacker news I'll point out the whole investigation is largely a technology issue. Many studies have shown that expressiveness of great instrumentalists rests on incredibly small timing variations, which ARE NOT random. Because of latency and more especially jitter in the hardware/software interface true virtuosity is either very hard or impossible to develop using most currently available tools. What the actual acceptable level of machine induced random variations are is a much debated point. This is why I pushed Lippold Haken so hard to increase the sampling rate of the continuum fingerboard to its current sub-millisecond levels. The underlying technology of the madrona soundplane can be implemented at audio rate, which, by definition, should be fast enough to obviate this need.
Here's two more videos of people mixing/making cool music on the 'fly'
I think the only difference is that the price of these kinds of looping tools has dropped precipitously, so there's more people fooling with them.
(And I am not trying to disrespect the musicianship of people doing this. I'm just questioning it being a NEW THING.)
Sidenote, totally trivial, but in case you care: Orbital only recently (past 5 years) moved to Ableton as a control hub, but still use a ton of outboard gear. Before that they were running the rig off Alesis MMT-8s, and famous for doing so. Those would trigger loops, yes, but they would trigger those loops in samplers, which is why most orbital tracks loops are limited to starting, stopping, looping, and getting cut up a tiny bit, not much more. The MMT-8s are essentially step sequence loopers and arrangers, kind of the most frustrating form of what the MPC-style offers. But since they were masters of them, there was no reason to switch until something better (Ableton) came along.
The thing is that Ableton isn't your instrument, it is just a way to arrange what music you've already created. If you're going software based you would have your synth(s) and then other plugins (VSTs) to modify your sound, each with their own learning curve. Then you would have to learn Ableton or whatever Digital Audio Workstation (DAW) you choose. Plus, since sounds are being created from scratch there is a lot to learn about the theory of sound so that you don't get frequencies overlapping. I know that I thought it would be really easy going into it, but I have found that it is much harder than it seems and I have a new found respect for those releasing their music.
For me, not having frequencies overlap falls under mastering which I consider to be kind of separate but related issue. If you wanted to be in a traditional (as in, a band with 'real' instruments), you'd still have to learn that to make your music sound good in addition to learning the instrument. And I still think that learning Ableton (+VSTs) is easier than learning to play a 'real' instrument. Minus maybe the bass guitar :-). It's definitely more fun which is why I might think that it's easier. But it is true that in electronic music, mastering is probably more important.
For anyone who's interested in this I can recommend this free book http://noisesculpture.com/how-to-make-a-noise-a-comprehensiv... (they ask for your email).
http://www.youtube.com/user/moldover
Before him, it was called "live pa"
What electronic music opened up is much larger. Music is internal, electric (like our central nervous systems) and cosmic. The focus is in the body and mind of the people experiencing it. Its in the speakers and on the dance floor. The composer disappears, the audience disappears, the technique disappears (and all that thinking about "is the performance technically accurate/innovative ?")
As soon as you put some clown on the stage all the beauty evaporates and people stand around yelling "woot" and generally not dancing. Or if they do it involves fist pumping and making rock faces.
As soon as you put a live musician in the track then you start thinking about technical execution and about what the musician is feeling and thinking. It limits it. I love live musicians (I majored in Saxophone, I have a piano in my room here), but I just want to point out that the revolution of electronic music is that we took music past the limits of performance.
Its pure sound, pure feeling.
Also you should realize that even jungle, juke, IDM, breakcore are often written with furious fingers and lots of live tweaking. And AraabMuzik is using the auto rolls all the time and he has breaks that set the pace. And he has the dynamics turned way down so its actually pretty hard to make a mistake. Turntablists like Q-bert are a thousands times more impressive. Listen to Sabar drumming and forget about the simple boom bap and cheap rolls that AraabMuzik is doing here. Jungle at its peak twisted the mind with intricate rhythms that really blew minds.
And people have been doing crazy live electronic performance for ooooh.... 60 years now. We used keyboards and drum pads and MPC/SP type machines.
You can't just throw something like that out there and not make recommendations ;)
I gotta admit, I can't stand about 98% of EDM, but some small amount of it actually is really good.
I don't think I fully agree with 'the assumption that electronic music is the future'. It will be part of the future, but analog/traditional instruments will always be around, and will always be a significant portion of what music is created and what music is listened to.
Instrumachines aren't necessarily new, I'd even say the original electronic synthesizers of the 60s and 70s fall into the category. The just evolved into things with keyboards so they kind of got lumped into the 'instrument' category. I was glad you brought up turntablism, another example.
I know the synths are a good example of a legit hardware instrument. From the fan's perspective though, it largely mimics the skill of a pianist (even if you upload crazy other sounds into the keys). I'm more interested when we start respecting performers who play instruments conceived entirely in the digital era, with very little vestigial leftover from the analog instruments. Just the concept of that is cool to me.
As for RJD2, that's a big omission on my part, I was such a huge fan in the early 2000s. And also PL, more recently.
My first impression is that this is just a vain and boring exhibitionism of technical virtuosity, like those fast and boring guitar players (Steve Vai, Yngwie Malmsteen, etc) or those endlessly screaming pop divas (Celine Dion, Whitney Houston, etc.) just to show off.
I'm a guitar player myself, and don't really care for Vai/Satriani type stuff; there's just something missing. I have been getting into some more recent progressive shred and am having a hard time finding anybody that seems to really be pushing the genre forward as much as Tosin Abasi and Javier Reyes. Both are extremely talented and just seem to "get it". Another guy who is right up there is Paul Ortiz. He's got some pretty serious keyboard chops, too.
Also, I've seen a few performances where iPads were being used in a similar fashion to decent effect. Not sure which software was used. What are your thoughts on that? The machines these guys are using cool, but essentially still hardware. We are at a point now where an artist can commission a unique instrumachine purely in software that runs on tablets or just regular laptops. This reminds me of classic musicians throughout the ages who either invent their own instruments, or commission artisans to build them.
