James Dutton 33197846

A Critical Review Of The Technical Parameters Of Max Msp-Patches Utilised

By Artists Within Their Live Performances.

J. S Dutton
Leeds Metropolitan University, BSc Music Technology
Level 6, Project Research and Planning

Music is a creative expression and artists will always try and push the boundaries
further in their field to stand out amongst peers, this natural motive to break the
mold and experiment with ideas is what pushes the music industry forward. As
technology has advanced this experimental ethic has grown with it, today artists
are using programming and performance software to perform, creating a whole
new experience to their live shows. This paper aims to investigate and critically
evaluate the way computer software is used in live performances.This paper will
also look at how artists use Cyclings 74’s Max Msp (Here-after referred to as Max)
to push the boundaries of there performances.

1. Introduction

Over the past 10 years performance software has become increasingly popular amongst
artists and musicians, due mainly to the fact that computer processing power has increased
dramatically and become more stable, allowing programs to handle more complex tasks without
any glitches. The boom of the MP3 in the late 1990‘s also had a massive effect on how music is
performed, Later on DJs where performing with CDJ’s and manipulating audio live, Software
companies soon start to notice this trend and build more complex systems which artists took in
there stride and now seek to design there own customised performance set up with the use of
Max, this will be discussed in depth further on in the paper using personal Interviews and articles
with highly regarded industry professionals who perform or work with these technologies on a daily
basis.

2. Computer Software in live performance

In 2001 a German company called Ableton run by Gerhard Behles and Robert Henke,
introduced “Live” to the industry, Live started of as a production tool but its features could be used
for performance “The program was born from a culture of performance-oriented ways of making
music. (15) (Gerhard Behles)
Live bridged the gap between the producer and the DJ as it allowed artists to sync the
tempo of audio tracks on multiple channels to an internal clock, this allowed artists to perform with
unlimited possibilities of loops and reconstructing music on the fly. This created a completely new
way of performing music live.
Page 1 of 17
 James Dutton 33197846

One of the first DJ’s to use Ableton Live in a

performance was Sasha, to much controversy at the
time as it was seen not to be a form DJing (Fig 1), he
used it to sync his tracks and enabled him to mix
multiple tracks seamlessly and Harmonically, almost
remixing them live “The spontaneous way you can
re-edit things is just amazing.....You’re almost writing
and composing little hooks in the club and creating
new records” Explains Sasha. (19)

(Fig 1, Sasha Performing with Ableton Live)

This new way of using computers to perform with meant that the computer started to be
known as an instrument, but rather that the actual computer being the instrument it was the
software that was running on it.
“To me the laptop is just another musical tool and the only reason why I am using it on stage is the
simple fact that it is a portable supercomputer, capable of replacing huge racks of hardware” (6)
(Robert Henke)

3. Max MSP

As more performance based software was introduced to the market, with the likes of Native
Instruments Traktor Pro and Serato’s Final Scratch platform being successful ‘off-the-shelf
products which can be used to a great affect, artists started to experiment with them in different
ways and routing one program into another, this led to a point where there experimental ideas was
being limited by technology, or rather as Henke describes “Everybody has done everything in some
way, except it maybe not the way you would like it to be.” (21)
touching the point that some software simply doesn't have the features artists would like it too.

The solution of these issues came in the form of Max, Originally founded by David Zicarelli,
it is a node based graphical programming environment, every node has an input and output and
artists can connect nodes with virtual patch cords in a very intuitive way. Max has a vast repertoire
of audio effect nodes, video effects and user interface elements (see Fig 3 for example), An all
most limitless amount of systems can be built from the very basic to the extremely complex. "It's
like you're drawing a diagram of what you want the program to do, and then when you're done
drawing the diagram you've also sort of accidentally programmed it". (17) David Tinapple

Page 2 of 17
 James Dutton 33197846

Many artists on now using max to build there own systems for use in their live performances and
all artists use it in there own way.

4. Case Studies

The following case studies contain critically evaluative information on publicly available
data concerning the use of Max Msp in an artists performance and there reasons why they used it
over any other software.

4.1 Owen Pallett - Use of Max in Solo Violin Performance.

Owen Pallett a Canadian composer and successful violinist describes how he uses Max to
enhance his solo Violin performances in an interview for Cycling 74.com:

“I’d set loops and then have them travel around the room in an interesting way, so one
violin line would scroll within a boundary of four speakers and then others would join in and move
in different directions” he then adds “Max can be both easy and very difficult. It’s easy to explore,
but can be challenging to tune and debug. Seeing as I’m a better cook than a programmer, it didn’t
come particularly naturally to me.”(16)

Pallett’s patch enabled him to create a performance experience far beyond audiences
expectations, especially as a classically trained Violinist, the patch he uses is a fairly basic looping
system but he found it difficult to get his desired result using any other software, he explains his
choice of using Max over any other software:

“Although all of these functions are available in Ableton Live, I find that Abletons MIDI
implementation is too ‘user-friendly’ and doesn’t allow enough detail… not to mention the
limitations of Abletons non-clocked Looper function. So I’m sticking with Sooperlooper + Max, a
great combination.” (16)

Pallett is a good example of an artist using Max to ‘break the

mold’ and experiment with different ideas creating a whole
new element to his musical expression.

4.2 Aphex Twin - Face Recognition Patch

Richard D. James, more commonly known as Aphex Twin has

been using Max since very early in his career, mainly using it
for his trademark IDM (Intelligent Dance Music) music, to
create glitches and extremely complex abstract sounds. (Fig 2, Aphex Twin face recoginition visual)

Page 3 of 17
 James Dutton 33197846

He also uses it in his live show but in a very different way as his Visual Technician Wierdcore
explains in an interview for Thecreatorproject.com: “We used something that detects faces in the
crowd. Wherever it detected a face, we’d just slam those faces with Richard’s. It fits in with the
Aphex Twin videos” (11)

He’s describing his use of Max Msp’s Jitter add on which enables the manipulation of video
systems, in this case he uses a face recognition patch which runs through a camera pointed at the
crowd, when the software recognises a face, it will replace it with the face of Aphex Twin. This
again add an element to his live show which has never seen before and help Aphex Twins shows
standout from the rest.

4.3 Autechre - Using max in performance and in the studio.

Rob Brown and Sean Booth (Autechre) use max as a studio and live performance tool, these
motive to use max to overcome problems in there working methods:

“We initially got it for making MIDI applications, and it was a way for us to make sequences in
which we could manipulate and generate data on the fly. We could do any combination of things.
For instance, if we wanted to have a snare sound late, and the bass note as well, we could have
the tracks sync'ed and variables sent across. Before then we had to do this manually, but with Max
we could connect things in a very literal way.” (21)

(Fig 3, Autechre Max Patch)

Page 4 of 17
 James Dutton 33197846

They used max to solve problems that other software could not achieve it is an essential tool to
increase there work flow in live performance and in the studio, allowing them to be more creative in
there musical ideas.

4.4 John Greenwood (Radiohead) - Using Max to manipulate his guitar.

John Greenwood, the guitarist from the infamous Radiohead used Max a lot in his solo work and in
the Radiohead album Ok Computer. He explains how his patch is used in the performing the
Radiohead song Gloaming live:

“The laptop takes over for the end section, using a Max/MSP patch which steals sections of
whatever everyone else is doing, and carries on when they all stop.”(20)

He goes onto explain his choice of max over other software:

“My copy of Emagic Logic insists on looping the first four bars whenever it can (although it’s good
software in lots of ways)… With Max/MSP I finally got to think about sound and MIDI, and their
manipulation, in a much purer way… I felt that all direct contact with computers had been taken
away from me, until I found Max/MSP.”(20)

His point that he feels he has direct contact with Max is an interesting point that will be elaborated
on more later on in the conclusion

5. Limitations

The Advantages of Max in live performance is apparent, but it does have its
disadvantages. One major one is also greatest strength, the limitless range of objects and
routing systems that enable the user to build pretty much anything imaginable means there
is an extremely steep learning curve. All other performance software platforms, such as
Ableton Live, is available ready to use right out of the box, whereas with Max you have to
learn a complete language and gain quite a bit of experience with it before you can reach
its full potential or achieve the patch you want to create, even then there is alot of tweaking
and de-bugging your own systems.

Page 5 of 17
 James Dutton 33197846

When in a live performance the artist should be completely confident that his equipment,
including software will work without glitches. With max patches not being created by
professional programmers and don’t have years of beta testing then there are room for
mistakes which can cause problems on stage.
As Gernot from Modeslektor explains why he has a back up system when performing with
max:
‘We Use a Max/MSP patch which is kind of buggy and that's why we need back-up... so if my
machine crashes, we have a back-up computer’ (10)

Another disadvantage is built into most Max enthusiast system, too keep building
increasingly complex systems which can even go beyond the control when in a live
performance. James Lidell explains what goes on in his head whilst performing in an
interview for the Guardian:
“..right, that's the beat, do I scrap that or carry on? Mind you, don't stop looking at the
audience and don't forget to think about the next tack. You are in the past, present and the
future, all at the same time."(18)
If this is what’s going on in the mind of the performer then it cant be that enjoyable to the audience
either who mostly wont be familiar with Max and even the ones who do still probably wont
understand what the performer is doing.

Owen Pallett describes a reaction he had from a crowd performing his looping violins performance:

“It seemed too demanding on the audience to have a guy constructing loops from scratch and then
on top of that have those loops wander around the room. I didn’t think I could ask people to stretch
that far for a show. It’s a pretty tough sell” (16)

Audiences are used to the one on one relationship between the gesture of an instrument being
played and the result, which is the sound of that instrument, this one on one gesture is masked
with laptop performing.

Page 6 of 17
 James Dutton 33197846

6. Conclusion

It has been proven that Max has enormous possibilities but only to the competent user, but its the
same with a more traditional instrument, David Battino made the statement “Your max software is
like a supertanker of magnetic poetry hitting a mile-wide refrigerator door.” At Max founder David
Zicarelli, to which Zicarelli responded “We’ve made a saxophone now your job is to operate it”
which is a valid point, Musicians who play more traditional instruments spend many years
perfecting there skill. (21)

Max is a fantastic instrument with endless possibilities and it gives its users a blank canvas to be
creative and push the industry forward.
“Cycling '74 says with pride that its customers are continually blowing them away with applications
their engineers never dreamed of. The fact is, Max is at once built for no application and any
application.”(21)

As with all technology it becomes easier to work with when you have spent time learning
everything about it, or ‘practicing the instrument’ so its intuitive to work with, no matter how
complex it is. As John Greenwood pointed on earlier its important to feel like you have direct
contact with the computer to use it like an instrument.

“Sometimes options can stimulate you, but it try to make a distinction between being controlled by
the possibilities and controlling the possibilities” - Herbie Hancock (21)

Page 7 of 17
 James Dutton 33197846

7. Report Limitations

Two Limitation of this paper is the maximum word count, this report could be extremely in depth
and have many detailed case studies and interviews to come to a more direct conclusion.

A questionnaire was give out to 20 industry professionals, but due to the nature of there
international work only 5 had been returned.

Page 8 of 17
 James Dutton 33197846

8. References and Bibliography

(1) About Ableton Live, n.d -

http://www.ableton.com/live-8

(2) Pete Tong ‘I Love Ableton’ Interview, Zack Rico beatportal (2007) -
http://www.beatportal.com/feed/item/pete-tong-i-love-ableton/

About Max Msp, n.d -

(3) http://cycling74.com/products/maxmspjitter/

(4) About Max For Live, n.d -

http://cycling74.com/products/maxforlive/

(5) An Interview with Giorgio Sancristoforo, (2010) Marsha Vdovin -

http://cycling74.com/2010/06/07/an-interview-with-giorgio-sancristoforo/

(6) An Interview with Robert Henke, (2009) Marsha Vdovin -

http://cycling74.com/2009/11/21/an-interview-with-robert-henke/

(7) Future DJ: A Brief History, (2010) Saint

http://www.djtechtools.com/2010/08/25/future-dj-a-brief-history/

(8) Why DJ With Ableton Live?, (2010) Chad Parkhill

http://www.djtechtools.com/2010/10/06/why-dj-with-ableton-live/#more-8246

(9) Plastikman’s Kapture, (2010) Michael Walsh

http://blog.dubspot.com/griid-creators-liine-releases-kapture-plastikman/

(10) Modeselektor Lecture, (2009) RBMA,

http://www.redbullmusicacademy.com/video-archive/transcript/modeselektor_20000010/transcript

(11) Animated Op Art, Weirdcore Interview, (2010) Kevin Holmes

http://www.thecreatorsproject.com/en-uk/blog/animated-op-art

(12) Max For Live, (2010) Nick Rothwell

http://www.soundonsound.com/sos/feb10/articles/maxforlive.htm

(13) Cycling 74 Max 5, (2008) Nick Rothwell

http://www.soundonsound.com/sos/aug08/articles/max5.htm

(14) Apparat In The Studio (2006) Brandon Ivers

http://www.xlr8r.com/features/2006/10/apparat-studio

(15) Namm 2008: Meet Abletons President..Gerhard Behles (2008) Francis Preve, Beatportal
http://www.beatportal.com/feed/item/namm-2008-meet-abletons-president-gerhard-behles/

(16) Owen Pallett Interview, (2010) Marsha Vdovin, Cycling 74

http://cycling74.com/2010/12/01/an-interview-with-owen-pallett/
(17) C74 Perspectives: David Tinapple (2006), Cucling 74.com
http://www.youtube.com/watch?v=pudznKV3LJE

(18) We’re Jammin, Interview with James Lidell, (2005) Pascal Wyse, Guardian
http://www.guardian.co.uk/music/2005/sep/30/electronicmusic?INTCMP=SRCH

(19) Sasha Interview, (2005) Bill Brewster, DJ History.xom

http://www.djhistory.com/interviews/sasha

(20) Radiohead: Kid A, Amnesiac, Hail To Thief, Nick Collins

http://www.computermusicjournal.org/reviews/28-1/collins-radiohead.html

Page 9 of 17
 James Dutton 33197846

(21) Autechre Interview, (2005) Mythical Records

http://www.mythicalrecords.com/forum/viewtopic.php?t=47
Book:

(21) David Battino & Kelli Richards (2005) The Art Of Digital Music, Backbeat Books, San Francisco

DVD:

(22) Ali Demirel & Richie Hawtin (2009) Making Contakt, Minus Inc, Berlin

Magazine:

(23) Neil Worley (2007, December issue 57) MusicTech

(24) Daniel Griffiths (2010, February issue 223) Future Music

Fig 1. Sasha Performing with Ableton Live - http://www.djtechtools.com/2010/10/06/why-dj-with-

ableton-live/

Fig 2. Aphex Twin face recoginition visual - http://i.ytimg.com/vi/rGosqmf-740/0.jpg

Fig 3. Autechre Max Patch - James Dutton (2010) screen capture of Autechreʼs Max Msp Patch.

Page 10 of 17
 James Dutton 33197846

9.Appendix
Questionnaire Answers
9.1 Arjun Vagle (Jalebee Cartel), India

1) Which area(s) do you work in? (Please mark as appropriate):

DJ Music Producer Sound/Tech Engineer

Band Member Tour Manager Radio

Other (Please Specify):

2) In the performances you work with, what software do use? (Please mark as appropriate):

Ableton Live NI Traktor Pro NI Traktor Scratch

Ableton w/Maxforlive Max MSP Traktor S4
Serato Scratch Live Serato w/ The Bridge Serato
Itch
NI Maschine

Other (Please Specify):

3) During Performances, what is your usual technical set-up (Software and Hardware if
applicable)?

We use different set-ups for both Live & DJ sets ! I’ve included my tech rider so its explained

4) How is your chosen software incorporated into your live performance?

The software for live sets – Ableton is the back bone of the act. We use 3 mac’s synced via ethernet.
One is used for trigring the main loops/drum tracks etc. The second is for live sampling &
processibg. Thru this laptop the vocal mic + percussion mic is processed and samples live. The third
laptop is running synths.

5) What are the reasons in using your chosen software over any others?

Stability & ease of use. Ableton alows you to really get to the heart of the performance.

6) How long did it take you to be comfortable to perform with the software live? (Please mark
as appropriate):
Less than 1 week 1-2 Weeks 2-4 Weeks
1 -2 Months 2-4 Months 4-6 Months
6 Months - 1 year More than 1 year

Page 11 of 17
 James Dutton 33197846

7) What do you feel are the limitations of your chosen software and how would you improve
it?
Major issues are with syncing laptops. Ableton really needs to look into this. Often dropouts occur.

8) Do you think there are any distinct advantages for artists using performance based
software live?
Software helps you ease the whole live setup. No more carrying hardware out of the studio. Plus the
basic fact that everything can be loaded on a laptop- synths, drum machines etc. Alos the software
does some of the work for you, leaving more space to be creative

9) If you were to create your own performance based software what would be the key features
you would include in it?

10) Are you familiar with Cycling 74’s Max Msp if so how have you used it?
Havent used it yet, but do wanna get into it at some point.

9.2 Dave Robertson (Reset Robot)

1) Which area(s) do you work in? (Please mark as appropriate):

DJ yes Music Producer yes Sound/Tech Engineer

Band Member Tour Manager Radio

Other (Please Specify):

2) In the performances you work with, what software do use? (Please mark as appropriate):

Ableton Live NI Traktor Pro NI Traktor Scratch yes

Ableton w/Maxforlive Max MSP Traktor S4

Serato Scratch Live Serato w/ The Bridge Serato
Itch
NI Maschine

Other (Please Specify):

3) During Performances, what is your usual technical set-up (Software and Hardware if
applicable)?

Page 12 of 17
 James Dutton 33197846

13” Mac Book Pro, Ableton Live, Akai APC40, NI Audio 8.

4)How is your chosen software incorporated into your live performance?

I use ableton to play all my tracks, loops and fx. Its my replacement for CDJ’s/Technics.

5) What are the reasons in using your chosen software over any others?

Its very stable in my opinion and is really creative. You can do almost anything you want in
ableton. Its endless!

6) How long did it take you to be comfortable to perform with the software live? (Please mark
as appropriate):
Less than 1 week 1-2 Weeks 2-4 Weeks
1 -2 Months 2-4 Months yes 4-6
Months
6 Months - 1 year More than 1 year

7) What do you feel are the limitations of your chosen software and how would you improve
it?
There aren’t many things I”d change about ableton. I’d like there to be more loop toggles on each
track and more cue points. That’s from using it in a dj sense.

8) Do you think there are any distinct advantages for artists using performance based
software live?
From a djing point of view I think you can be more creative using Live. You can really build on
moments in your dj set and create new edits and remixes on the fly!

9.3 Andi Durrant (Galaxy Radio)

1) Which area(s) do you work in? (Please mark as appropriate):

DJ Music Producer Sound/Tech Engineer

Band Member Tour Manager Radio

Other (Please Specify):

Page 13 of 17
 James Dutton 33197846

2) In the Performances you work with, what software do use? (Please mark as appropriate):

Ableton Live NI Traktor Pro NI Traktor Scratch

Ableton w/Maxforlive Max MSP Traktor S4
Serato Scratch Live Serato w/ The Bridge Serato Itch
NI Maschine

Other (Please Specify):

3) During Performances, what is your usual technical set-up (Software and Hardware if
applicable)?

Apple Macbook pro running Ableton Live and iTunes

Akai APC40 Ableton controller
Novation Nio Soundcard
Pioneer CDJ 1000 x2
Pioneer DJM800 or similar

4) How is your chosen software incorporated into your live performance?

We played the majority of our music through Ableton – with all tracks warped and ready to
re-edit and remix on the fly.

5) What are the reasons in using your chosen software over any others?

The main reason we use Ableton is that it’s warping function means the DJs focus is taken
off trying to “mix” 2 records together, and put more into the performance and remix aspect
of electronic music. Ableton also has (in my opinion) the best hardware controller in the
APC40.

We also use Ableton for making our radio shows, so it makes sense to have everything
within one program. It also means we know our way around it very well and use it on a
daily basis.

6) How long did it take you to be comfortable to perform with the software live? (Please mark as
appropriate):
Less than 1 week 1-2 Weeks 2-4 Weeks
1 -2 Months 2-4 Months 4-6 Months
6 Months - 1 year More than 1 year

7) What do you feel are the limitations of your chosen software and how would you improve it?

Page 14 of 17
 James Dutton 33197846

I don’t really feel like there are that many limitations with the way Ableton works – certainly
not the way that we use it anyway. My main gripes would be with the screen size. Because
it has to fit a lot of elements onto the screen at once, everything is very small and hard to
read in the dark. Being able to customize the views more would be fantastic. I’d also like to
be able to flick between time spent and time remaining on the clips.
However, when the backbone of your whole gig relies on a single Macbook or laptop
running any kind software, there’s always a worry that it’ll crash or hang. It’s also
susceptible to the venue getting too hot and humid.

8) Do you think there are any distinct advantages for artists using performance based software live?

Definitely – I’ll swear by the fact that anyone can learn to “DJ” in about 20 minutes. The
actual mixing of records is a very easy skill that can be picked up by most people, but only
those who are a bit more creative and truly musical can remix , re-edit and add vocals and
layers to tracks within a live software environment.

9) If you were to create your own performance based software what would be the key features you
would include in it?
Switch between a snap to grid/warped clip based format like Ableton and a DJ style format
of Serato etc.

Very clear and easy to read (scalable text) record library that can be organized by mp3
“comments” field (where programs like Mixed in Key write the key tag)

Easy looping tool - one click button to loop a section of quantized 4/8/16 bars etc.

9.3 Henry Humphries (Excentrik Muzik)

1) Which area(s) do you work in? (Please mark as appropriate):

DJ 1 Music Producer 1 Sound/Tech Engineer

Band Member Tour Manager Radio

Other (Please Specify): Label Manager

2) In the performances you work with, what software do use? (Please mark as appropriate):

Ableton Live 1 NI Traktor Pro NI Traktor Scratch

Ableton w/Maxforlive Max MSP Traktor S4
Serato Scratch Live Serato w/ The Bridge Serato
Itch

Page 15 of 17
 James Dutton 33197846

NI Maschine

Other (Please Specify): NI Traktor Scratch Pro, Mixed In Key

3) During Performances, what is your usual technical set-up (Software and Hardware if
applicable)?

MacBook, Traktor Scratch Pro (4 Decks into provided DJ mixer), Audio 8 USB Soundcard, NI
Kontrol X1 USB Midi Controller, Faderfox DX2 Midi Controller, Soundbite Pro Sampler

4) How is your chosen software incorporated into your live performance?

Traktor is used to deliver the music I want to play to the DJ mixer, with up to 4 tracks / sounds
being loaded in the software at one time. Some times I will use the auto-sync feature of the software
or depending on monitor quality and set up / sound check time on offer I will use the time-coded
vinyl / cds in conjunction with turntables / CDJs. I also use the looping features and effects of the
software during my set.

5) What are the reasons in using your chosen software over any others?

I have considered using Ableton to perform for it’s improved effects quality and options for
creativity, however from the first time you use it Traktor has a DJ feel to it that doesn’t seem a
million miles away from more traditional music delivery methods. Also the way of selecting tracks
is more user friendly in Traktor, with the use of playlists and full screen folders etc. Lastly I belive
you can use Traktor without having to look at the screen as much.

6) How long did it take you to be comfortable to perform with the software live? (Please mark
as appropriate):
Less than 1 week 1-2 Weeks 2-4 Weeks
1 -2 Months 1 2-4 Months 4-6 Months
6 Months - 1 year More than 1 year

7) What do you feel are the limitations of your chosen software and how would you improve
it?

I feel the effects could be improved in Traktor, they can sometimes feel a little “Fisher Price” to me.
I would like to see more regular updates and improvements in the software to keep things
interesting as with software of almost any nature whether it be for DJing or for a mobile phone I
feel after around 12 months you can get a bit bored of it. More view options in the folder section
would be welcome (e.g. like in iTunes where you can have a the cover art in a prominent position
rather than a list of track names). Mixed in key integration could be a nice addition, with visual

Page 16 of 17
 James Dutton 33197846

aids to identify similar and complimentary keys of tracks. Lastly a faster method of setting up the
cables would be a big improvement.

8) Do you think there are any distinct advantages for artists using performance based
software live?

As I touched on before, I view using software in this way simply as a more effective and efficient
delivery method of music to then DJ with. One of the first things I noticed after purchasing Traktor
was that I had a lot more time to prepare for my performance. My time was no longer eaten up by
burning and organising CDs. I didn’t have to re-burn a piece of music because I had edited it myself
(or if it was one of my own tracks: worked on it a bit more). I didn’t have to wait days for the
records I had ordered online to arrive any more and then struggle to transport them to the gig. I
could now work on a playlist ahead of a forthcoming gig, and with a few drags and clicks both add
and remove music that I thought would suit the gig well. As well as being much easier to find that
track you think of during a set and play it there and then, that you hadn’t even thought about for a
few years.

9) If you were to create your own performance based software what would be the key features
you would include in it?

The key feature I would most like to see is the introduction of a “cloud” based music delivery
system. It has got to the point now where downloading and labeling music, and organising it on a
portable hard drive, has become a time consuming chore. So I would like to have all my music
stored online, then when I go to DJ at a club I would just login to my cloud and stream whatever
track I wished to play from an online server. Instead of download shops such as Beatport charging
by the download, they could charge by the play, this would be a low figure and so would possibly
discourage piracy. And it would be a more fair way for music producers to earn money from their
art.

The other key feature I would like to see introduced into software is HD music. In a similar way to
how TV and film have improved picture quality I would like to see this happen to music, with a
new format being invented that is next level and worthy of the technological capabilities we have in
2010.

Page 17 of 17