![]() ![]() Playing live can be as simple or complicated as you like, it’s your gig after all. I allow a maximum of eight tracks, for simplicity and ease of control and I’ll use a combination of MIDI control assignments and Live’s Key Map Mode (using the computer keyboard to trigger effects). My own process for recent gigs has been similar to the steps described in our walkthrough tutorial – my productions take place in Ableton Live, so there’s a pretty straightforward path. I’ve got clients who have, during a training session, gone online and bought cheap, used, MIDI controllers on eBay, then continued to do paying gigs with them for years. Once you play a few gigs, even just one, your ideas about gear will change. ![]() Especially in the early days, avoid buying anything unless you can afford it and you’re sure you need it. Hardware is fun, sure, but try to stick to a realistic budget when you’re tooling up. The right amount of gear affects how much fun you’ll have – too much and it’s a pain, too little and there’s not enough to be expressive. A few shows down the line, he told me I was right, he’d scaled right back and was enjoying his gigs much more as a result. If you have a minimal studio setup based around a computer, controller, interface and some choice bits of hardware, then maybe you should take that as-is and enjoy the familiarity of having your usual setup laid out in front of you, without it being difficult to cart around.Ĭlick here for some of the best products for live performance.Īs an Ableton Certified Trainer, I once told a client he was bringing too much equipment to his early gigs, basically packing his entire studio in a van. You don’t need to overcomplicate things at the outset. If you have a massive studio-hardware setup, that probably isn’t something you’ll dismantle and take with you even if you can, I’d advise against it. Your choice of gear will be a major influence, at a purely practical level. Why not? It’s not compulsory you rip everything up again for live sets, though I personally think it makes life more interesting. Conversely, some people like to treat the process like doing a DJ set, working with their stereo mixes as if they’re someone else’s tunes and throwing in extra sounds and effects along the way. What’s a good manageable number of tracks for you? There’s no right or wrong answer, you’re in charge!Įven the tempo is subject to change, it doesn’t have to be the same as your original mix – sometimes a bpm that works in an arrangement can drag a bit when you’re faced with a live audience don’t be shy of changing tempo during songs as well. Also most hardware controllers presume you’re working in eights or banks of eight anyway, like it or not. ![]() How many tracks are available to you on your hardware, and how many do you want to deal with in your software? Hardware sequencers are naturally more restricted in track count, and even with software, I prefer a lower track count – it’s easier on the computer, and easier on the eye. #Apple mainstage vs ableton live software#It’s even possible to incorporate sync’ed visuals in these flexible setups, thanks to VJ software such as Resolume. However, if you want more structural flexibility, you’ll be breaking your music into sections (like Scenes in Ableton Live) to rearrange as the situation demands. ![]()
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