Ableton Forum

Sick! I love it!

my favorite part -- the kings X harmonies. for some reason, i'd never thought of using live to do that (sing my own backing vox), very excited by what this opens up.

heh, he made that video in the bus ?

cool bus

cool video too, thanks kb

Hey Kid, are you using midi ox or something similare with Live?

And could you explain what you actualy do with the foot controller? Very inspiring to see you work it!


All the best,
Kim

ze2be wrote:Hey Kid, are you using midi ox or something similare with Live?

And could you explain what you actualy do with the foot controller? Very inspiring to see you work it!


All the best,
Kim

I think there are a few threads where his setup is discussed, plus and interview and video in the "artists" section of this website--check those out for more info. At the point in time of those posts, he was using a pc, using midi ox and bome's midi translator to have many things happen with one midi pedal press. This new video appears to be on a mac, so he must've crossed over and is probably using midipipe and controlaid or some other virtual midi and midi translator apps for mac.

Cool!

Very inspiring.

quandry wrote:

ze2be wrote:At the point in time of those posts, he was using a pc, using midi ox and bome's midi translator to have many things happen with one midi pedal press. This new video appears to be on a mac, so he must've crossed over and is probably using midipipe and controlaid or some other virtual midi and midi translator apps for mac.

Boo...

Well, that would explain the excess chunkage and the rather large chin. The brutha is getting Mac-Phat.

quandry wrote:I think there are a few threads where his setup is discussed, plus and interview and video in the "artists" section of this website--check those out for more info. At the point in time of those posts, he was using a pc, using midi ox and bome's midi translator to have many things happen with one midi pedal press. This new video appears to be on a mac, so he must've crossed over and is probably using midipipe and controlaid or some other virtual midi and midi translator apps for mac.

Thanks, ill check it out! Im using the worlds greatest os: Windoze, so I should be safe from the fat..!

f*****ng amazing....

so was so impressed by kid beyond´s gig at the musikmesse in germany.

@KB i hope to see you play in germany again sometime.


marc

i love this kind of stuff, and try to do it myself live, but have never been able to figure out why the audience responds so differently if they see you creating the loops rather than triggering ones you made before. i know, there's human variation when you do it live, but most of my (e.g.) guitar loops come out pretty much the same each time i lay them down. it's just seems like the audience wants to be assured you're not cheating somehow.

thought of this b/c what i like is how the kid has songs arranged so that he gets real changes through fairly subtle moves like changing the bass line -- i wonder how much of this is worked out upfront so that (e.g.) stepping on one button kills all bass, synth, etc., leaving him with only a new bass line and the percussion. b/c that sort of work makes it seem less live (because there's much more work behind the scenes to arrange things so you can create arrangment specific to song). i'm likely being unclear, but what i'm really wondering is whether he has a generic set up he could use for any and all songs, or complex midi set ups specific to each song, so that he can do very complicated things specific to a song's arrangement. i've been trying to go for the generacized, but it can be limited in some contexts.

dj superflat wrote:i love this kind of stuff, and try to do it myself live, but have never been able to figure out why the audience responds so differently if they see you creating the loops rather than triggering ones you made before. i know, there's human variation when you do it live, but most of my (e.g.) guitar loops come out pretty much the same each time i lay them down. it's just seems like the audience wants to be assured you're not cheating somehow.

I also think it's a natural, human response to witnessing creativity - yet another confirmation that pre-recorded material does not carry the same artistic weight, and that the essence of art is in the creative *process*.

Plus, there's a sadistic part in everyone that wants to see if the artist screws up, and more importantly WHEN he does (because we all do), how well he recovers. It's pretty hard to screw up pushing the space bar and throwing your hands in the air, although I've heard even that sometimes doesn't go off without a hitch!

nebulae wrote:Plus, there's a sadistic part in everyone that wants to see if the artist screws up, and more importantly WHEN he does (because we all do), how well he recovers. It's pretty hard to screw up pushing the space bar and throwing your hands in the air, although I've heard even that sometimes doesn't go off without a hitch!

I really think it's more to do with empathy than with sadism though... we get that same kind of rush when a great player recovers from a mistake half-way through a solo as the player does - and hence we reward them with enthusiasm when they make it out alive.

Machinate wrote:

nebulae wrote:Plus, there's a sadistic part in everyone that wants to see if the artist screws up, and more importantly WHEN he does (because we all do), how well he recovers. It's pretty hard to screw up pushing the space bar and throwing your hands in the air, although I've heard even that sometimes doesn't go off without a hitch!

I really think it's more to do with empathy than with sadism though... we get that same kind of rush when a great player recovers from a mistake half-way through a solo as the player does - and hence we reward them with enthusiasm when they make it out alive.

Yes, yes, of course, this is what I meant...it's empathy to see a great performer do his thang. Underlying it though, is that tension of the great fuck-up that looms overhead like the grim reaper. Sort of like when I watch ice-skating with my wife. She's watching for the beauty and grace, and well, you know why I'm watching....

yeah - on the screw ups thing , that was what really sold me on Jamie Liddel, when he did the gig at Liverpool Phil the delays & loops went into a crazy feedback and he didn't bat an eylid but chopped it up realtime into a wicked section of its own. Lightening musical reactions. I went crazy shouting "jesus - did you see that! did you hear that! do you know what he just did!".
On the way out all the musicians looked ashen faced and amazed because they knew, most people in the crowd didn't realise what they had seen. they just enjoyed it.

http://www.jamielidell.com/video/rfh.html
just in case you aren't familiar with J.L. although it's not him at his best.


Anyway, I liked the Kid Beyond stuff.
I can't remember - there was mention somewhere here of how he gets live to map to the correct tempo and how he gets the first loop to blindly be exactly a bar.
As we know - live doesn't have a 'set tempo to first loop', so how is it achieved?

I love the mention in the video of "if I need it a little faster I just knock the tempo up a little"
eh, how ?
That's another little something (nudge tempo) we have been asking for since forever

so how does KB work without a loud BEEP in his ear then, how does he get that first loop to fit?