Mattokind is the project of Jae, a classically trained musician,
and myself, a computer music nerd.
In order to bring it from the studio to the stage we invited Jörn.
He's playing drums and triggering samples, and Jae is playing keys and violin.
My set-up is the technical heart of the performance.
It should fit in one case I can carry.
It should feel like I'm playing an instrument and not just launching scenes.
It should enable me to process in real-time what Jae and Jörn are playing.
It should enable me to play some very complex sounds we produce in the studio.
Let's give it a closer look.
Push is dedicated to all the sounds, it's like my instrument.
I can play synthesizer, I can launch clips, single-shot samples, or play samplers
and control the macros of those.
This controller is kind of an audio mixer,
where I have on the left side the controls and volumes and sends and some EQs
of the sounds that I'm using from Push.
And the right side, I have all the sends and the effects that can be routed into each other
from the middle section.
This one is a looper, pretty much.
Each channel is a looper and the last one is controlling the Kaoss Pad.
The iPad is... There's two apps that I really like
because they give me a sense of touch on the sounds.
And I can still send sounds from all over the set into the iPad, re-sample and play it back.
And the Launch Pad is actually used as a matrix,
so I have all the inputs from one side, all the outputs of my set on the bottom.
And I can just assign what comes in into what comes out.
The little Monotron is just to make noise when I'm bored.
Looking at Push, I need a kind of one-page set-up
that gives me control of all the instruments for every song that I need.
And I can switch through scripts through different songs,
so when I switch the song it loads the right instrument, the right macros and everything
so I don't have to go through Session or Note or Device or Mix,
I just have everything that I need for every song in one page.
I organize everything in a drum rack that is like a layout of 64 by 64.
And each section controls different parts.
I usually have on this corner, like, single-shot sounds
that I can play throughout the songs when it's needed.
On this side I have single-shot loops
that are loaded into Simplers and warped with the time of the song.
Up here I have midi notes that I routed internally and I can control clips in the session,
so I can launch clips.
And control the volumes, for example here, I have a bass I can bring in and out when I need
through the song.
And here, I have midi notes that I routed, again, internally to a VST
that is playing a synth that I will use in the studio.
And through these macros, I can actually control the sounds of that instrument.
This control is dedicated to take care of all the signal flow that goes through the project.
So on my left side I have volumes and a bit of EQ of all the sounds that come from Push,
for example here, I have an arpeggiator running that I can bring up.
And the right side is taking care of volumes and the macros of all four sends.
They are always the same for every song.
And kind of resemble the effects that I use in the studio a lot.
Going through each one of them, the first one, for example, if I bring it up is...
is a spectral delay.
that create these kinds of spectral sounds...
kind of reverb-y.
The second one is a grain delay...
that pitches up the sound one octave or pitches it down one octave.
Or kind of blends in the two things and adds a bit of a vintage reverb.
The third one is an echo...
with control on feedback.
And filter.
That for one is...
is kind of a shimmer reverb...
with saturation and another reverb after just to use the Freeze button...
of that reverb so I can actually stop the sound and keep that running and I can play with it
and create textures and bring that up and down.
What I particularly like is that I can actually route every send into any other send.
So for example, let's open the echo again.
I can send this echo now into the Grain Delay.
I can send the Grain Delay...
to the spectral.
And maybe the spectral...
to the last one that creates the more noisy one.
I have kind of a secret button here that creates...
like a big, rumbling effect when I bring it up.
And it's pretty much like, all these sounds are going always into another send
that has, like, it's filtered down to the bass, and using a Grain Delay to create this big rumble.
And I can go a bit crazy, I can even open different ones...
and try make it really strange.
And I have a little button here that actually resets all the sends
so I can just cut down everything.
This control is dedicated to three loopers, the first 3 channels.
And each one of them has the same exact set-up so let's loop just the first one.
I have some samples here running.
And I can just hit this button, map to recording,
and it will record one bar.
I have done here controls for pitching, so I can pitch it up.
And let's take away the samples so we can hear the loop going.
I can pitch up.
Pitch down.
Reverse.
And send to effects.
All of those.
As for the effects send, I can route loopers into loopers,
so I can open the first one that will go into the second and the third,
I decided to record on the second.
That I want now on the third one too.
Bring back the samples.
I have a filter there so I start playing with those, send it to effects.
And when I want to just go back to normal, instead of having to go and stop each one
I have a little reset button here...
that stops the loop, clears the loop and resets the preset.
The fourth channel of this controller is dedicated to a mini Kaoss Pad.
But I kind of like using it as a looper.
You can, with your hands, move and choose the beginning of the loop and reverse it
and these kinds of things.
I have a volume here...
a cut-off filter here and I can send to all the effects.
One thing I do live is, for example, the synthesizer,
that is going through this effect.
And then when a break comes, I send the effect to the Kaoss Pad.
Pressing Hold, I kind of grab it and then stop...
so there's a big drop and I can bring it up slowly.
And open it up to the effects.
I wanted to integrate the iPad in my set-up because to have the feeling of actually...
playing with my hands the waveform.
I'm routing audio in and out from the project through the USB cable
with an app called Studiomux.
And the two apps I'm using to actually play are Borderlands and Sampler.
This is Borderlands, that is like a granular sampler.
And you can either load sounds or you can re-sample sounds on the fly.
Just record.
Stop and start playing. So I create kind of a cluster of little points
that I can make a bit more percussive,
and frequent...
and change the volume.
And I have a router here, and I can play with effects, etc.
The second app...
is Sampler.
That is a six-track sampler.
And you can load sounds and actually start playing with your hands.
So, like, kind of scrolling too. So you can do... these kinds of things.
And it gives really a tactile kind of way of playing.
And this one is to connect it to...
effects.