![]() In 2015 I was invited to perform at various venues and festivals in Buenos Aires, Montevideo, Lima and Morelia as part of a tour to promote my album Acapulco Space Station, recently released on Argentinian-based label LeRonca Records. The delay in the MIDI signal through the network meant that, whilst I could trigger video clips on Resolume at the same time I triggered scenes in Ableton, I could not achieve the same kind of synchronicity between changes in sound effects in one program and visual effects in the other. ![]() To control Resolume through Ableton Live I used two MacBook Pro laptops, sending MIDI information via a local network between one machine and the other. The immediacy and liveness that I aspired to struggled to come across to the audience. The amount of pre-recorded tracks that I set up to trigger, were too numerous. All the sounds, apart from the guitar, came from within the computer. I think this sense of distance between my body and the music created was in large part due to the role of the computer in the system. It felt like a very strange one-man band were my interaction with the machines could always be greater. I used two MIDI controller keyboards, the Launch Pad and a footswitch to trigger different scenes when my hands were busy playing an electric guitar. Whilst some compositions required me to play guitar or keyboard parts, in general I was dissatisfied by these results. There was little performance in these actions to my liking, a factor that made me feel uncomfortable as a performer as I felt that my performances were simply waiting moments between one section and the next, with not much for me to do in between. I might as well have just triggered a backing track. This meant that the ability to trigger each section became futile. Whilst if I wanted to, I could alter the order in which the parts were played, after various performances it became evident that it was way too easy to fall into a set routine. To play a composition I would have to trigger each eight or sixteen bars of music chronologically to form the music. These sections were mapped out onto a Novation Launch Pad, a MIDI controller. This meant that audiences would stop dancing or view the work passively instead of responding to the music.Įach piece of music was divided into eight or sixteen bar sections. This disrupted the flow of the performance, with the transitions sometimes taking up to five minutes. Transitions between each piece of music took too long. although highly successful in it’s scope of manipulating both audio and visuals through the interaction between Resolume and Ableton Live had some significant drawbacks which I will list below: You will need to do this when you first load a session, when you bank tracks (9-16, 17-24 etc.), or when you change from pan to send a, send b etc.Since developing the performance installation Acapulco Space Station in 2013 (pictured above) I have worked to improve the way I perform electronic music in a live environment. To correct for this you may need to turn the control from one end to the other in order to reset the range. This is great if you want to make a small adjustment but you may find you hit the end of the pot’s physical travel before before the virtual control on screen. The pan and send controls don’t have pot pick-up, they move immediately from whatever position they are in. You will need to do this when you first load a session, when you bank tracks (9-16, 17-24 etc.), or when you change from pan to send a, send b etc. In order to make these work we ‘emulate’ the operation of the encoders in firmware. ![]() The Launch Control XL has pots rather than encoders which have an absolute position. HUI is designed to work with encoders for pan and send controls. The controls still work relatively to turn pans left and right. *Due to the Pro Tools HUI implementation, the centre detent of the LaunchControl XL pan pots will not directly correspond to the centre position of Pro Tool’s pan pots. Fixed crash: Sending Sysex Messages with values out of LaunchControl XL´s parameter range to the device ![]() Added additional MIDI port "LaunchControl XL HUI" Release notes for Firmware Updater 1.2 (firmware revision 59) Added full class compliance (LaunchControl XL now supports use with MIDI-hosts like Kenton "MIDI USB Host" or iConnectivity "iConnect MIDI")
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