I found out recently I’m playing for an hour and half rather than an hour, and I normally do an hour, so there may be some slightly longer pieces. It’s kind of really just about having a variety, so you can take it any way you feel. Loops, stem loops, and a little bit of everything.
In order to assemble your clips, are you simply loading stems from the tracks into Live? And sometimes I put one at the end to control the master. The card I use has 16 outputs, so I can separate sounds into different ones and have different effects running on each pad. How do you use the multiple Kaoss effects in tandem? It’s not enormously complex, because I have to be able to travel around with it on my own. I’ve got a little MIDI keyboard up there to play stuff on and to keep things triggering. And then I go into a mixing desk, and I’ve got a lot of control over what’s going on. Then I have separate outputs through the interface, so I can have four or five Kaoss Pads running in sync with Ableton, where I can do sampling and looping and all kinds of crazy sounds. I ran off all the separate sounds from my own studio, and kind of loaded everything up into Ableton, so I’ve got total flexibility over all the songs. Hopkins: It’s an Ableton system at the core of it. Can you tell us a little bit about what you do for live sets? (Don’t miss the spectacularly lo-fi film of “Insides” from Live at the ICA, London, below.)ĬDM: Not having seen your live show, knowing only your studio work, I’m looking forward to seeing you at Electric Zoo. I’m especially able to resonate with what he has to say about working with sound, and transitioning from a piano background to working as a producer – and I’m listening to his work from a fresh perspective after the combination. He shares here how he works live onstage and in the studio, talks about how Brian Eno got him hooked on the Kaoss Pad, and reveals his addiction to the tools he first used as a keyboard and resistance to software and hardware upgrades. Hopkins by phone from the UK, before he departed for New York and Electric Zoo. You can catch him Sunday at 1pm if you’re at the event. And we’ve seen him here recently with remix swaps with Four Tet and contributions to Eno’s upcoming Warp record.Ĭoming to the Electric Zoo Festival, the blowout Randall’s Island Labor Day weekend electronic party here in New York, he’s set to perform a straight-up, genuinely live set, complete with a small squadron of KAOSS Pads.
He worked with director Peter Jackson, and has a sci-fi score on the way.
He’s a frequent collaborator with Brian Eno, wand has worked with artists like Coldplay (who featured his music on their last album), Tunng, David Holmes, and Imogen Heap. Photo ( CC-BY-SA) Matt Biddulph.Ĭlassically trained as a pianist, musician and producer Jon Hopkins has one of the richest resumes in electronic music.
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