Thanks, John, for bringing my stuff to attention here!
To answer some of the above questions:
No triggers are used, (even though I have one connected to the snare), it's all live sound from four mics. I used to go with 2 overheads plus a kick mic, but risk of feedback during performances (especially when utilizing distortion etc) made me go to close-micing.
If you read my posts on this forum, they're pretty much all related to challenges from this project.
I push my system to get the least amount of latency possible. Ideally I'd like to get below 10ms round-trip, which believe me, sounds easier to achieve than it is. (The number in Live's preferences does not represent your real latency.)
shadx312 pretty much got it. I have a couple of effects-chains. I automate parameters, often adding soft-synth melodies/chords/bass-lines. The only "out-board" effects come from the chaos pad. I play along with a click in my ear and the effects do the work in real time. Very painstaking to "compose", but very rewarding to play along with.
The whole setup has gone through its own evolution. The first incarnation was basically the inverse approach: Start with nothing and loop/layer/process on the go, composing in real-time. There were many routing obstacles to overcome. Florian Bomers' Midi Translator Pro was key to making this possible. I have written literally hundreds of translators that allow me to control every single parameter on every effect with my controllers, never having to touch the laptop. The idea was to learn to play this setup like its own instrument.
The thing I had to learn the hard way was that in order to master an instrument, kinesthetic feedback plays a large role. And with as much complexity as the Spacebar setup, I learned that it was close to impossible to master it, as it is so easy to lose track of which effects are on, which tracks have loops running on them, etc.
So I have now adapted it to where effects-changes are pre-"composed" (automation) and I can keep playing the drums the whole time.
Ironically, with the original setup the audience thought I had stuff going on that was pre-recorded, while now the whole thing has a more exciting and "live" feel to it.
I'm working on recording more of this. Btw, someone mentioned that there are more and more drummers out there starting to do this. I've been working on this for over five years. Back then, absolutely nobody was doing it on drums. KJ Sawka was one of the first I found doing a similar thing, albeit without nearly as much external control. I believe Zach Danziger uses live effects automation now with Mister Barrington, and Martin Dosh has been messing with that too.
I'd be curious to learn about others out there. Please feel free to list any of them.
Thanks for the kind words!
Max Oepen
