Electro Heart: Ableton, ASAP Sound & Revolutionizing Live Electronic Music

“Electronic music” has always been difficult to define, and the ascension of the DJ — in all its forms — to mainstream recognition has only further conflated how artists and fans within and beyond the constellation of electronic music engage with the space. This DJ deification that began in the early 2010s shattered the mirror of public understanding into pieces, each reflecting their own take on the craft, an amalgamation of competing, conflicting, and complementary perspectives that rewired a vast network that linked performance, production, composition, mixing, engineering, and overall artistry. Amid the myriad cultural and technological advancements that drove these changes, one name continues to lead the charge: Ableton.

Why Ableton? To better understand how the German DAW (digital audio workstation) developer is revolutionizing live electronic music, Sweetwater spoke with ASAP Sound founder Jordan Stilwell and the group’s boundary-pushing live-show designer, Fred Carlton. Their wealth of expertise runs the gamut of composition and performance possibilities from first-time producers and club-size performances to stadium shows and global festivals that bring tens of thousands to the main stage.

Photo Credit: ASAP Sound

Ableton Live has become the DAW of choice for countless artists across genres, but its state-of-the-art, multimodal capabilities have cemented Ableton as the gauntlet to seize next-gen performances. How? Simply put, heart. In a world of mechanic precision that forgoes interesting, ambitious ideas and favors the safety of familiarity and calculated perfection, Ableton allows you to wield your musicality with the utmost integrity. Ableton will transform everything from local stages to international arenas, and with the right frame of mind, it can do the same for you. After all, without heart, without the ability to stir the soul, why go to a live show?

Photo Credit: ASAP Sound

ASAP Sound, Part I: Roots of Arena-grade Ableton Firepower

ASAP Sound, Part II: Why Ableton? Putting the Artist First

Get Unpredictable & Interactive: The Chainsmokers, Flume, Odesza & MoreJordan Stilwell: The Chainsmokers & 2019’s World War Joy Tour

Fred Carlton: Flume & Creating “Variant Sampling”

Light, Interactivity & the Un-remix: Majid Jordan & OdeszaMajid Jordan: Light in Bloom

Odesza: Remixing Reimagined

Ableton in the DJ Space: Stems, Precision, Limits & Opportunities

Form, Function, Modularity & Linearity

ASAP Sound, Ableton & Heart: Don’t Play It (Too) Safe

Eye Candy: A Closer Look at ASAP Sound RigsKendrick Lamar: Playback Rig

Linkin Park: Mike Shinoda, Joe Hahn Playback Rigs

Odesza (Harry Mills, Clayton Knight): Live, Controller, and Playback Rigs

Grateful Dead: Mickey Hart Live Rig

J Balvin: Coachella 2024 Playback Rig

ASAP Sound, Part I: Roots of Arena-grade Ableton Firepower

Founded by Jordan Stilwell, ASAP — Advanced Specialized Audio Professionals — Sound supplies artists of the highest caliber with an all-encompassing suite of live, broadcast, post-performance, and post-mixing prowess. Their combined 50-plus years of experience have earned them a reputation as ambitious, imaginative innovators who use Ableton as the central nervous system of each exactingly tailored performance.

Live rig for the Grateful Dead’s Mickey Hart | Photo Credit: Fred Carlton, ASAP Sound

Kendrick Lamar, Cher, J Balvin, Linkin Park, Odesza, Jay-Z, the Chainsmokers, Janet Jackson, Sabrina Carpenter, Avenged Sevenfold, the Grateful Dead, Tiësto, Fall Out Boy, Flume, Ariana Grande — these chart-topping, globetrotting artists comprise only a portion of ASAP Sound’s ultra-stacked roster. This diversity underscores Ableton’s dynamism and flexibility, but using the DAW to create, manage, and perform such versatile yet focused performances requires we look deeper than form and function — we need artistry, a philosophical disposition of imagination and intent. This is where Fred Carlton joins the fray.

Live rig for singer/songwriter | Photo Credit: Feid Fred Carlton, ASAP Sound

Before joining ASAP Sound, Fred Carlton’s decade-plus career included specializing in performance systems, sound design, MIDI production, and software development under his Nerdmatics business moniker. Intel, CES, Google, Flume, Odesza, Majid Jordan, Feid, J Balvin, Lizzo, Baby Keem, Linkin Park, and Kendrick Lamar are a handful of power players that fill out his stylistically diverse CV pre-ASAP. Jordan Stilwell — with over 20 years of engineering, 12-plus years of producing, seven-and-counting years of recording and mixing the Chainsmokers — recognized that Fred’s multimodality allowed them to supercharge the live-performance potential of ASAP’s growing reach.

Live playback rig for Kendrick Lamar, ca. 2024 | Photo Credit: DJ Huggy, system operator and playback engineer

ASAP Sound, Part II: Why Ableton? Putting the Artist First

Fred Carlton adheres to a philosophy of creating what he calls “a live moment.” These unplanned, unpredictable collisions of creativity, performance, crowd engagement, and maximum vibe response culminate in a singular experience saturated with raw, artistic pathos. It’s the infamous Sabrina Carpenter “Nonsense” outros; it’s Daft Punk debuting their space-age pyramid to an audience of thousands, kicking off their swan-song Alive tour at Coachella 2006; it’s Swedish House Mafia’s historic 2018 reunion at Ultra Miami (for which Fred ran the audio side).

Dennis Radaelli, CC BY-SA 4.0, via Wikimedia Commons

Looking at Fred Carlton’s work on both of the Glitch Mob’s Blade systems; Majid Jordan’s hypersynchronized audiovisual array; Drezo’s darkly futuristic hard-techno groovescape; the live-show rebirth of one-time dubstep dynamo Getter’s transcendent Visceral LP — there’s a vivid road map of innovation. From each live show, lines of flight connect them to subsequent performances that honor not just the immersive spectacle the audience witnesses but the integral component, too, that makes game-changing performances possible at all: the work ASAP Sound does for the artist.

J Balvin’s Coachella 2024 playback rig | Photo Credit: Fred Carlton, ASAP Sound

As Fred puts it, “A lot of live music just feels like it’s a big listening party. A live show shouldn’t be that.” This is what underscores ASAP Sound’s celebrated innovation. For Jordan and Fred, pop-music performances are stale and predictable. “If I know, for example, they’re going to play this track at 15 minutes. And then, at 20 minutes, they’re going to interact and say, ‘What’s up?’ to the crowd,” Fred explains, “then why wouldn’t I just catch it on YouTube?”

Get Unpredictable & Interactive: The Chainsmokers, Flume, Odesza & More

For Fred and Jordan, it’s imperative their systems inspire the artist as an instrument unto itself, one uniquely capable of bringing a vision to life. “Our job, as technicians,” Fred explains, “is to accent what people are performing. I’m always trying to create this sandbox that a person can play in but without giving them the ability to completely destroy it.” He likens the live-performance Ableton sessions to a ship in a bottle: for all its customization, detail, and possibilities, there’s still a container. Boundless creativity, for all its potential, sacrifices focus.

ASAP Sound playback rigs | ASAP Sound

Jordan, Fred, and the ASAP Sound crew share an expansive artistic fluency, giving them a distinct vantage point to witness the evolution of both Ableton and the electronic music space. As these parallel yet mutually informative lanes of creativity have expanded, so too has our ability to transform live performances into memorable experiences greater than the sum of an artist’s oeuvre.

Live keyboard rig for Mike Shinoda of Linkin Park | Photo Credit: Fred Carlton, ASAP Sound

Jordan Stilwell: The Chainsmokers & 2019’s World War Joy Tour

Jordan and the Chainsmokers go way back. As a longtime collaborator, producer, engineer, and live-show designer, Jordan understood that the Chainsmokers’ meteoric rise significantly broadened the scope of touring potential. Considering the tour’s titular full-length LP and its star-studded cast of collaborators, the Billboard-charting record needed a show of equally seismic proportions.

ASAP Sound 2-channel Auto-Tune full-redundancy real-time live rig | Photo Credit: ASAP Sound

Teeming with shades of EDM-fueled electropop and ear-grabbing delights, it would’ve been reasonable to assume that supporting World War Joy meant a traditional DJ set or a hybrid setup coated in a veneer of rock-star-grade visual accoutrements. Instead, Jordan envisioned a truly live show that blended the performance sensibilities of a band with the interactivity of a DJ. So, he got to work.

This time around, there would be no CDJs. Rather, the Chainsmokers performed “as if the band was the CDJ,” Jordan describes. Custom-built effects rigs provided sound shaping, texturization, and rhythm tools that behaved like a CDJ but with greater modularity and micro- to macro-level sonic contouring. Jordan needed granular levels of operation that the mix-focused architecture of the CDJ doesn’t support. Then, there are the drums.

Matthew Withers, CC BY-SA 2.5, via Wikimedia Commons

Jordan’s vision for the show included a live rhythm section. He and his crew created a routing structure that allowed all the live instrumentation — drums, synths, and more — to go back to the central mix before the master output. Doing this allowed the Chainsmokers to make real-time decisions to influence, affect, alter, or preserve parts that were being played live, meaning they could create a unique version of the “DJ moments” that are such a staple of the genre with far more flexibility than a CDJ-driven environment.

Fred Carlton: Flume & Creating “Variant Sampling”

“You had to be there, man!” Fred half-sarcastically exclaims, pantomiming devotees of jam bands who celebrate the glory of seeing “that show.” But a lot of truth is said in jest. “You never hear anyone say that, for example, Zeppelin’s ’75 tour was ‘the one,’” Fred elaborates. “It’s always something like the St. Louis show,” he continues, referencing bootleg culture and its penchant for specificity. What’s clear, however, is that he’s right.

The audience’s experience is only as special as an artist can make it. A spectacle of light and sound is memorable fun, but a musician getting hands-on with their sound is palpable; it ephemerally works its way through the crowd in every note and beat. A production built around safety quickly feels stale and predictable for all involved. Fred’s mission to amplify an artist’s expressive and creative potential is what sets his, Jordan’s, and ASAP Sound’s work head and shoulders above the rest. Let’s look at Fred’s work with Flume.

Flume’s music is complex. And the complexity is, itself, complex. There are so many layers of composition, technique, sampling, production, performance, and engineering intentionally and meticulously arranged, deftly concealing the true nature of their intergrading machinations. The result is, impressively, far more accessible than one might reasonably assume if they could see all these disparate layers out of context.

Playback rig for Flume | Photo Credit: Fred Carlton, ASAP Sound

Also, it bangs. Flume’s Grammy Award-winning Skin, from 2016, was a breakout moment for the electro-rooted producer’s menagerie of stylings, marrying future-bass, pop, and dance hues of EDM with hip-hop and alt-rock-inspired panache. This diversity is mirrored by an equally varied frenzy of features. Taking this album on tour as anything other than a DJ set was a daunting task. Fred recounts his first discussion with Flume about working on the system; Flume was unsure what Fred could do for him since Flume could already cut up his own samples. It was a valid question, Fred admits, but an essential opportunity for ingenuity.

Photo Credit: David Lee, CC BY 2.0, via Wikimedia Commons

In designing Flume’s system, Fred’s knack for supporting the artist’s experience and the aforementioned “live moments” led them to two performance configurations bound by the mantra that “it has to sound as good as, if not better than, the album,” Fred says. The subtext is that the emergent reality of the audience-performer interaction requires a delicate balance of difference and familiarity, a way to offer uninhibited creative control without making everything so different that it pulls people out of the moment. Conversely, it couldn’t just be control for the sake of control, e.g., asking Flume to perform a frame-perfect run of 32nd-note arpeggios over a song that’s perfectly quantized everywhere else would, at best, approximate the studio recording yet, more likely, fail to enhance the audience’s experience at that specific show.

So, all the VIs (virtual instruments) used on the record were collected and built into a comprehensive system that served as the show’s foundation. Beyond each VI producing its respective parts of a track, Fred added notes to the scale, additionally changing the playability of each part via insert and overlap capabilities that let Flume hold a note for an additional bar then let the sequence return to its normal arrangement or play chords, harmonies, and countermelodies alongside the original part.

Stage rig for electronic producer and performer Flume, featuring multiple Eurorack modules | Photo Credit: Fred Carlton, ASAP Sound

But the two, in their own Copenhagen-interpretation moment, landed on a method of elevating this concept that they call “variant sampling.” Fred gives Flume credit for the name, but this is how it works:

Once all of Flume’s crazy MIDI was printed, the pair collected five additional VIs for each part. This “5+1” configuration was loaded into a dedicated virtual-instrument rack. Slews of part-specific rack controls meant Flume could swap or expand instrumentation live, expanding his capacity for how he played, queued, or performed a part.

Andre Benz, CC0 BY 1.0 UNIVERSAL, via Wikimedia Commons

In other words, Flume now had an always-available multi-instrument for any part he wanted, to wield any number of permutations, effects and all. This model is infinitely malleable. Its application is limited only by your imagination and ambition... and your processing power. But it takes Ableton’s architecture to logical extremes that are endlessly exciting to explore. “He’s a beast!” Jordan says of Fred endearingly. We have to agree.

Light, Interactivity & the Un-remix: Majid Jordan & Odesza

Ableton’s capacity for deeper artist-crowd connection and interactivity can’t be overstated, but it’s as personal to the artist as any of ASAP Sound’s cutting-edge work. Because Ableton can also control lighting, countless avenues of evocative, immersive presentation are available, but the same concerns for safety that beget staleness with sound affect lighting, too.

Jordan and Fred have observed two main ways in which this impacts show design, both involving an overreliance on video as a medium and time code. There’s nothing fundamentally wrong with either, but the multidisciplinary opportunities for jaw-dropping, multimedia expression that Ableton supports reshape how the visual dimension factors in. Really, this is another form of interactivity, capturing hearts where audio alone would struggle. For interactivity to succeed, it’s important that instruments and tools are equally reactive.

Majid Jordan: Light in Bloom

Majid Jordan, the Canadian R&B duo whose mainstream breakout came with their feature on Drake’s “Hold On, We’re Going Home,” are another of Fred Carlton’s collaborators. Fred built their recent tour setup, including a masterstroke of “less is more” design — what Fred describes as “an acoustic moment,” such as the mid-show break of a glam-metal band’s set when the guitarist and vocalist (or only the vocalist) croon a few ballads. This time-tested tactic gives audiences a deeper, more intimate connection to the performer, and Fred created a version of this moment for Majid Jordan.

Rather than bringing down the lights and individually spotlighting the duo, Fred built a complex rig with integrated video elements that Jordan Ullman could control with his keyboard. As Jordan Ullman and Majid Al Maskati traded keyboard licks and vocal lines, the LED wall behind them, synced to specific chords and keys, illuminated with blooming flowers. Subtle and evocative, this elegant display of interactive affectivity begs the question, “What is the alternative?”

Well, it’s cumbersome and would involve SMPTE time code. Jordan and Fred compare the differences between a time-code-focused version and Fred’s Ableton-driven solution to the ways you could create a shadow. Time-code signals use pulsing square waves to synchronize audio and visuals, but that hard-coded reliability is a double-edged sword. Unlike proverbially using light to cast a natural shadow, a time-code accompaniment is locked on rails, such as someone learning the choreography of a dancer’s routine to be their “shadow.” If anything happens differently, then the time-code sequence keeps chugging along, decoupling from the dancer’s performance.

By connecting the visuals to active live-performance input, Jordan’s chords blossom whenever he wants. If he and Majid are finding the crowd less receptive to the change in momentum, then they can move through it more quickly with almost no friction, just as they can draw it out as long as they want.

Odesza: Remixing Reimagined

For decades, remixes — official or otherwise — have been a mainstay of community showcasing, giving audiences a blend of the familiar and the unexpected and lowering the barrier of skepticism to new artists. It’s easier to commit the time to someone’s style when a remix of a song you know is the bridge. This wager, by way of methodically and inventively using stems, is something the likes of Daft Punk and Justice have used to capture this feeling of hearing a track differently enough to give it new life but not to the point of introducing cognitive dissonance between the studio and live versions, a grievous disruption.

This self-remix, an un-remixing of a work, is something Jordan and Fred have deployed throughout their careers. Fred’s worked with Odesza since their 2018 Coachella performance, reunited for 2019’s Boston Calling festival, and outfitted their 2022 The Last Goodbye world tour. Like Jordan and the Chainsmokers, Fred and Odesza needed a malleable, modular solution to their live show.

Live rig for Odesza’s Clayton Knight, ca. 2022 | Photo Credit: Fred Carlton, ASAP Sound

The indie- and electropop-tinged future-bass dyad were each positioned at stations on either side of the stage, both of which gave control over stems or stem groups, including vocals, drums/percussion, bass, and melodic instruments. As Fred points out, full-mix effects can be incredibly abrasive and make it difficult to use tools such as beat repeaters or time stretching with any degree of subtlety or focus.

Photo Credit: @nerdmatics

So, Odesza’s Harrison Mills and Clayton Knight each received an all-encompassing Fred Carlton-crafted effects rig tailored to their performance and stem-group needs. This delivered substantially more flexibility than a DJ set would, glimpsing the remix-like distinctions of this un-remix experience, maintaining the consistency that the space desires, and yet providing enough flexibility to meet the crowd’s energy on any given night.

Live rig for Odesza’s Harry Mills | Photo Credit: Fred Carlton, ASAP Sound

Hearing the tour’s 27-track live album, the crowd’s reactions to changes to the mix, instrumentation, or basic assumption about the direction of the set illustrate just how far you can transport an audience with the right tools, tools including Ableton.

Ableton in the DJ Space: Stems, Precision, Limits & Opportunities

There will always be a place for CDJ-style DJ sets, but their ubiquity among club booths and festival stages is their Achilles’ heel. The universality of their accessibility, with the turntable-inspired form factor, comes at the cost of personalization. To be fair, they’re not designed for the Ableton style of performance, which is why ASAP Sound champions the DAW as the bedrock of their systems. The thorniness of delineating electronic and nonelectronic shows only makes the DAW that much more valuable to artists, such as Thirty Seconds to Mars, Linkin Park, Thomas Rhett, or Duran Duran, whose work generally evades the EDM banner and stands to benefit immensely from Fred and Jordan’s Ableton-fueled systems. Even if you’re not “doing EDM,” one thing connects these artists: stems.

Stems have existed about as long as multitrack recording has existed. Ableton offers producers and performers extensive customization with routing, effects, send-return configurations, track grouping, and MIDI while audio-MIDI conversion expands possibilities for real-time control over lighting, effects, mixing, automation, and modulation.

Live rig for Linkin Park’s Joe Hahn | Photo Credit: ASAP Sound

DJ software spanning Serato, Algoriddim’s djay Pro, VirtualDJ, and rekordbox all support their own versions of stem extraction. The mileage varies with each, such as how accurately a sound can be isolated, what creative or performance uses a given program supports, and how your hardware enables you to utilize the stems. Per Jordan and Fred, access to stems is what bridges the DJ world with Ableton’s malleability. This is also where the CDJ’s “global” problem rears its head.

Form, Function, Modularity & Linearity

A traditional DJ setup is limited to a slew of performance pads and the total number of tracks the decks can support. Stems can still be used, sure, but the physical interface and software structure are built on linearity. CDJs are great for scrubbing timelines and working in that linear way, but it almost entirely lacks modularity.

Ableton, especially with its Clip View, is endlessly modifiable. You can implement global tools and effects on the master output while customizing tracks, scenes, and individual clips to suit your set. Plus, you have a wealth of MIDI control and virtual instruments to incorporate. How you control your sound is a limitless possibility with seamless integration of numerous styles of controllers. Ableton’s interoperative accommodations let you build the perfectly personalized performance rig to get incredibly granular with real-time sound shaping.

When the community element of the DJ craft requires you to constantly read the room and adapt to a crowd’s energy, Ableton is more than ready to offer that support. Jordan cites the Grammy Award-nominated DJ and producer TOKiMONSTA as someone who’s made the transition to all-Ableton DJing due to its myriad levels of customization. Coincidentally, when Skrillex was first blowing up, he performed his DJ sets with nothing but an M-Audio Trigger Finger and an Apple MacBook running Ableton.

ASAP Sound, Ableton & Heart: Don’t Play It (Too) Safe

There are too many valuable insights and ideas from our talk with Jordan and Fred to count. What they’re doing as ASAP Sound lives at the bleeding edge of live performance, but the enormity of their clientele and the near-paradoxical diversity of styles that make up their all-A-list roster shine so brightly that it can be easy to miss what makes their work so special. It’s not the talent, technical proficiency, connections, or experience — all of which, and more, they have in spades — that set them apart. It’s heart.

Daft Punk playing with heart and vision, debuting their Alive pyramid at Coachella 2006Papouten, CC BY-SA 4.0, via Wikimedia Commons

Heart underscores their multidimensional vision, which in turn cultivates their ambitious spirit of ingenuity, exploration, and collaboration. Fred wasn’t wrong to refer to himself and those in this field as technicians, but there’s so much more to ASAP Sound, Jordan, and Fred than technical prowess. Even as useful as that is, no amount of it will naturally reach the peaks that only heart — curiosity, imagination, excitement — can summit. Heart gives us perspective, and perspective allows us to tap into multitudes of creativity, whether in our own work or in that of others.

Jordan, Fred, and ASAP Sound excel because, with heart, they can help someone build their own vision. It’s not about them delivering a final system that an artist is stuck with, but crafting a living, evolving, and adaptable vehicle of creative expression, one that dares them to push its limits and indulge the furthest reaches of their artistry, discovering as they go, risk of failure and all. Fred and Jordan see an artist’s potential as the beginning of what ASAP Sound can do, not the limit. The combined boundless modularity and voltaic expressivity is their way to preserve, above all else, the heart of a soul-stirring craft that has all but resigned itself to the stale drab of predictable safety. Without heart, a live performance may as well be a listening party, but no party worth throwing has ever been one that rigidly stuck to formulaic expectations. So, don’t play it safe. Dare to explore. Make it an Ableton party. You can bet Jordan and Fred will be there.

Eye Candy: A Closer Look at ASAP Sound Rigs

Below, you can get a closer look at the live rigs that Fred, Jordan, and ASAP Sound have assembled for some of the world’s biggest acts, including Linkin Park, the Grateful Dead, Kendrick Lamar, Odesza, Flume, and J Balvin. A common denominator among these rigs is the use of DirectOut products as well as Ableton Live and globcon software. The free-download globcon — a combination of “global” and “control” — software is used to seamlessly manage any tertiary software or hardware powered by the underlying Ableton architecture. DirectOut, the first company to adopt globcon, builds hardware and software solutions for broadcast, live, studio, and installation-sound uses, covering a breadth of networking, bridging, and connectivity options.

As DirectOut was the first company to universally adopt globcon, their products are essential to the rigs that ASAP Sound constructs. Every entry in the DirectOut lineup is fully compatible with globcon, supporting MADI, SoundGrid, Dante, and RAVENNA formats alongside AES67 and SMPTE ST2110-30/31 standards, bridging them to and beyond Ableton and countless peripheral devices.

Kendrick Lamar: Playback Rig

For a recent Kendrick Lamar tour, Fred, Jordan, and the ASAP Sound crew built this playback rig. Each Apple MacBook Pro is running globcon — connected to a DirectOut Prodigy.MP multifunction processor (pictured, below left-side laptop) — and Ableton Live. On the rack’s right side, dual Plugable USB hubs serve as routing and redundancy support and are joined by an 8-channel Pyle power supply sequence controller; a Netgate 1100 router; a Brainstorm Electronics SR-112 Timecode Distripalyzer, which reads, distributes, reshapes, analyzes, and/or generates time code; and an iConnectivity PlayAUDIO 12 audio/MIDI interface.

Linkin Park: Mike Shinoda, Joe Hahn Playback Rigs

To kick off this explosive tour, Linkin Park tapped ASAP Sound to build their live-performance rigs, including Joe Hahn’s multimode DJ setup, Mike Shinoda’s keyboard configuration, and the tour’s playback rig.

Mike Shinoda’s live keyboard rig with Linkin Park features:

Native Instruments Kontrol S88 Mk3 88-key Smart Keyboard Controller

Native Instruments Maschine Mikro Mk3 Production and Performance System

Embodme Erae Multi-touch Pressure-sensitive Expressive Controller/Looper

Ableton Live

Joe Hahn’s live DJ rig with Linkin Park features:

Pioneer DJ DJM-S11 2-channel Mixer

Pioneer DJ PLX-CRSS12 Hybrid Direct Drive Turntable (x 2)

MIDI Fighter Twister (x 2)

MIDI Fighter Spectra (x 2)

Embodme Erae Multi-touch Pressure-sensitive Expressive Controller/Looper (x 2)

Serato 12-inch Control Vinyl (x 2)

RJM Music Technology Mastermind GT MIDI Foot Controller

Dunlop Volume/Expression Pedal

Linkin Park’s playback rig features:

iConnectivity PlayAUDIO12 Audio/MIDI Interface

iConnectivity mioXM 4 x 4 USB/Networkable MIDI Interface

Netgear 16-port Ethernet PoE Switch

NTP Technology DAD Core 256 720-channel Dante/MADI Digital Router and Monitoring Interface (x 2)

DirectOut Prodigy.MP Multifunction Processor

Pyle Power Supply Sequence Controller

Plugable USB Hub

OWC 14-port Thunderbolt Dock (x 2)

Odesza (Harry Mills, Clayton Knight): Live, Controller, and Playback Rigs

Fred’s work with Odesza began in 2017, and he, Jordan, and ASAP Sound have worked together on several live rigs, including playback and performance setups. Check them out below!

Harry Mills and Clayton Knight’s live rigs with Odesza feature:

Arturia BeatStep Pro Controller & Sequencer (MIDI, CV/Gate, USB, DIN Sync)

Moog Matriarch Semi-modular Analog Synthesizer

Embodme Erae Multi-touch Pressure-sensitive Expressive Controller/Looper

Neutrik NE8FF etherCON RJ45 Feedthrough Coupler

Superdanny USB Surge Protector Power Strip

On this tour, Odesza’s playback rig features:

Apple MacBook Pro (x 2)

Ableton Live

Apple iPad

iConnectivity PlayAUDIO12 Audio/MIDI Interface

iConnectivity mioXM 4 x 4 USB/Networkable MIDI Interface

Plugable USB Hub (x 2)

DirectOut Prodigy.MP Multifunction Processor

Pyle Power Supply Sequence Controller

APC Smart-UPS Uninterruptible Power Supply

Assorted Netgear Ethernet Hub/Switch (x 3)

Grateful Dead: Mickey Hart Live Rig

Mickey Hart’s multimodal live drum rig for the Grateful Dead, designed by ASAP Sound, features:

Roland HandSonic HPD-20 Digital Hand Percussion Controller

Korg KAOSSILATOR Pro+ Dynamic Phrase Synthesizer and Loop Recorder

Moog Moogerfooger Pedal

BOSS FV-500L Volume/Expression Pedal (x 2)

Pro Co Power Mute Active Microphone Muting Pedal

BEAMEMUP Instruments 13-string Beam

FAMC Liquid Foot 12+ MIDI Foot Controller

Livid Instruments OhmRGB MIDI Instrument and Control Surface

Livid Instruments block MIDI Instrument and Control Surface

Livid Instruments CNTRL:R MIDI Instrument and Control Surface

J Balvin: Coachella 2024 Playback Rig

Fred, Jordan, and ASAP Sound outfitted J Balvin’s Coachella 2024 live rig, which featured:

Apple MacBook Pro (x 2)

Ableton Live

globcon

Netgear GS308EP 8-port PoE+ Gigabit Ethernet Plus Switch (x 3)

Radial BackTrack 2-channel Active Direct Box and Audio Switcher

Universal Audio Apollo Twin DUO Interface (x 2)

Brainstorm Electronics SR-112 Timecode Distripalyzer

Gooroo Controllers LIOBOX2 Live-performance MIDI Controller

DirectOut ANDIAMO 32-channel AD/DA Converter

If you’re looking to build an Ableton-powered playback or live rig of your own, then reach out to your Sweetwater Sales Engineer. Give us a call at (800) 222-4700 and let’s bring your sound to life!
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