Things may change, ideally only in a growth sense. Here’s what we have on the agenda. (drafts not visible)

• Ableton Template Theory

  • The “plate” approach: Managing your sets [draft]

• Ableton Template+Script+Performance

  • Full general walk-through of template, Ableton view

  • Full general walk-through of template, controller(s) view

  • Full general walk-through of template, with live instrumentation

  • Template theory, generation, use, and long-term management

  • Control script explained, and the horrible truth. [draft]

  • LivePA or what is this called?

• Ableton

  • The Focus Pane: A little treat and quick win few know or leverage

  • Use of a MIDI group for blocking with regard to plate use

  • Listener channels and the separation of plate drops from core template operations (safeguards)

  • Daisy channels after the listeners

  • Effects sends route to normal channels (possibly outdated approach)

  • Standardizing parameters in effects racks and approach

  • Neutralizing faders uniformly in routing

• Scratch Box

  • Origin

  • Theory

  • Build your own (loose plans)

• Live Performance

  • Keeping latency and CPU low (<5% on an old laptop)

  • Keeping the system reproducible

  • No to all the things you don’t want to hear but need to start coping [draft]

  • Are you redundant?

  • Don’t use Windows, use Apple, deal with it.

  • Document your work; use all available datastores

  • Traveling, compact rigs, the meta gear for a complicated task

  • Dangers of live looping [draft]

• Laptop+legacy hybrid performance

  • Know Your Routing: You are going to need to learn to mix and monitor

  • Mixers are your friend

  • Your interface matters, a lot. But it can be dropped in an emergency

The project is Apocalyptic, from the Greek word apokalypsis, meaning “unveiling.”

Thanks to my hard work, 20 years focused on Ableton, deep knowledge of the platform, and decades in audio engineering, my collaboration list is long. A few you may know include Ableton, Robert Henke, Livid Instruments, Max for Live, and many artists worldwide.

I also ran the largest Ableton user group on the planet, played more than 1,000 live shows (including SXSW), and opened for acts such as Thievery Corporation.

A major part of my work has been reverse engineering Ableton’s Python control scripts and sharing that knowledge with the wider community. Around 2011, I launched a very successful site that allowed users to build, store, and configure custom control scripts for Ableton - the first and only tool for Ableton users.

Stated goals:

• Release original music and remixes

• Document Ableton projects and production techniques

• Open-source control scripts

• Open-source *.als files as well as instruments and racks

• Gear, routing, and performance knowledge

• Videos of operation and technical breakdowns

The goal is simple: make the music, document the process, and share everything useful along the way, and not look back.