I have been starting to use tablets since the first iPad came out.
#Ppooll max msp Patch#
I am still using ppooll, a patch written in max/msp. Playing back tracks might be necessary in a band context but for me as a solo performer it would be a little boring.Īs fantastic as it is ableton’s “live” never worked for me in a live context.
#Ppooll max msp software#
Is it the laptop’s versatility that draws you to it? Have you experimented with tablets in the same way?ĬF: I still enjoy using software like an instrument. Despite it becoming common practice nowadays, bands continue to use the laptop mostly as a way to play backing tracks and samples, while you also use it extensively as an effects processor and an improvisational tool. OF: You were one of the first artists to pioneer the use of the laptop as an instrument, especially in a live setting. Some tracks are based on studio improvisations but basically it’s a very “composed” album. For Bécs I preferred a more direct approach. I’m trying to change my working routine every once in a while.
Are there a lot of these in “Bécs”? Do any of them stand out in your mind?ĬF: There is not much of this on Bécs except on the drum processing. OF: In the past, you’ve mentioned your appreciation for studio ‘accidents’, sounds generated in ways that can go ‘wrong’ and don’t come out as intended, and yet add an interesting, unexpected touch to a song. At first I wasn´t much into processing these instruments, as I enjoyed the rather traditional sound that came out of the studio sessions. I wanted to have some kind of “band” approach on a few songs. Why does this combination appeal to you, and what do you look for (sound-wise) when processing these instruments?Ĭhristian Fennesz: it just happened to be that Tony Buck, Werner Dafeldecker and Martin Brandlmayer where in town and I invited them to my studio. OUT.FEST: You’ve been combining waves of digital noise, glitched and manipulated sounds with ‘conventional’ instruments (especially guitar) throughout your career, and especially so in your latest record, “Bécs”, which sees you include drums and bass more frequently in your compositions. We had a chat with him about his latest release on Mego, “Bécs” (pronounced “betch” – it’s the Hungarian name for Vienna, where Fennesz currently lives), as well as his live performance methods and the potential in using tablets for music production and performance.
Ever since releasing “Endless Summer” (2001), his influential ambient/glitch masterpiece, the guitarist and electronic musician Christian Fennesz (better known simply as Fennesz) has been acclaimed as a leading figure in experimental music.
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