This performance became the next step in the new live language I began exploring with the Roland machines.
This time, a key part of the system is GD Live Harmony, the Max for Live application we developed. I use it to create new melodies and variations and change how the arpeggios behave. Alongside these controls, I adjust Gate and Note Density in real time from the Akai APC64.
Read the performance notes
Playing with Gate and Density opened up a different space for me during the performance. I realised that even without changing the melodic material, controlling the number and length of notes could change its rhythmic character, movement and energy.
At a certain point, it stopped feeling like controlling a prepared sequence. It felt more like reshaping the melody as I performed.
That made this set particularly enjoyable. I discovered melodic movements and combinations that I had not planned.
GD Live Harmony is beginning to feel less like a Max for Live application running in the background and more like one of the instruments I play in the live set.
— Gerçek Dorman
GD LIVE HARMONY
A software instrument inside the live set.
GD Live Harmony works as the melodic and harmonic control layer between Ableton Live and the hardware synthesizers. The aim is to let melodic material change during the performance, beyond playing back prepared MIDI sequences.
NEW MELODY
Creates new melodic ideas during the performance.
VARIATION
Creates variations of the current melodic idea.
ARPEGGIO CONTROL
Changes the movement and melodic behaviour of the arpeggios.
GATE
Changes note length, making the same melody sharper and more percussive or more connected.
NOTE DENSITY
Controls how many notes are heard in a phrase. Lower density leaves space; higher density creates a busier, more active melodic pattern.
The aim is to turn GD Live Harmony into an instrument I can play live, with its parameters directly under my hands.
GATE + NOTE DENSITY
Same notes. A different rhythmic expression.
Gate changes note length; Density changes how many notes are heard. Together they reshape the space, movement and energy of a melody.
Short gate · Low density
Long gate · Low density
Short gate · High density
Long gate · High density
Schematic illustration, not MIDI transcribed from the recording.
THE LIVE SYSTEM
Each machine has its own voice.
Roland TB-03
Acid Bass
Its role in the set
TB-03 provides the bass and acid layer. Its classic 303 character carries the more aggressive and hypnotic side of the performance through resonance, cutoff, envelope and accent movements. Here it is also a continuously moving bass voice beneath the melodic system.
Roland JX-08
Melody
Its role in the set
JX-08 is the main melodic voice. Much of the material generated and reshaped through GD Live Harmony is heard through it. Its wider, modern Roland character creates a distinct melodic space above the sharp bass of the TB-03.
Roland JU-06A
Chords
Its role in the set
JU-06A carries the harmonic layer: chords and broader synth textures. Its warm, direct Juno character holds the harmonic centre beneath the more active TB-03 and JX-08 parts.
Roland TR-8S
Drums
Its role in the set
TR-8S is the rhythmic backbone. Kick, snare/clap, hi-hat and percussion layers control the energy. The aim is for the drums to live alongside the other machines, rather than behave like a fixed backing track.
Akai APC64
Performance Control
Its role in the set
APC64 is both an Ableton Live clip launcher and the physical performance interface for GD Live Harmony. Melody Variation, New Melody, Gate and Density are mapped to its controls, so I can change the melodic system without returning to the screen or mouse.
SIGNAL FLOW
Control, MIDI and audio.
APC64 is a controller: it changes performance parameters in GD Live Harmony and Ableton Live. It does not generate audio.
Akai APC64 Performance Control · New / Variation / Gate / Density
↓ Parameter control
GD Live Harmony / Ableton Live
↓ MIDI
TB-03 Bass
JX-08 Melody
JU-06A Chords
↓ Synth audio
TR-8S · Drums Separate rhythmic system → audio to Ableton Live
↓ Audio routing
Ableton Live
↓
Live Output
From sequences to a playable system.
With these live sets, I want to move beyond a structure where prepared channels are simply switched on and off in sequence.
Read the concept
The hardware synthesizers still retain their own characters. But with GD Live Harmony, some melodic decisions can now happen during the performance.
I can change a melody. Create a variation. Change the behaviour of an arpeggio. Reduce or increase the number of notes. By changing Gate, I can turn the same notes into an entirely different rhythmic expression.
Instead of each device playing a fixed sequence, I am trying to build one connected live instrument that can be reshaped as I perform.
For me, this set is one of the clearest examples of that idea so far.