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Tom Hall

leafcutter_john.800x400.jpg

Hey, John. You're pretty familiar to a lot of Max users who have been around a number of years, but can you let us know how you got into Max and learned about it? Can you remember?

Yeah. Wow... It must have been when I started doing concerts because I've got this really funny picture, which I’ll try and send to you, which is me doing my first gig and it's in completely empty room in a pub with no stage and just a mattress on the floor. And then, there's like a piece of wood that's about maybe 12 feet long. It's got one string on it. There's a mixer, there are about two mini-disk players. Then, there's a zoom effect rack from my studio? And, that was it. That was the gig.

FISRT GIG copy.jpg

And I thought, oh wow, there must be a way of performing which doesn't rely on just playing back stuff from mini disks. And, I was playing shows in Germany at the time. And, I actually think I probably came into the very first incarnation of the Ableton offices when Ableton was just starting out. Because people were just kind of thinking about Live as a way of performing... I don't know, I think I probably found Max before Live existed actually, to be honest, but I remember downloading a demo of it. Not getting into it at all and then suddenly finding a project that needed Max and then I couldn't afford it. So I ended up with this terrible cracked copy.

At the time, I'd had some like bad mental health thing. I'd had this really bad agoraphobia, so I couldn't go out. And, I basically used a year just to learn Max.

Yeah. If you can't go out, you might as well do something useful like learn Max.

And then, yeah, that was like it opened up so much stuff. Yeah, I started making my own software and I made a bit of software that I'm still working on today. 2006, I think it was.

Yeah. I've made little bits of little patches that are still just really useful today.

I was going to ask about Forester. Because, the first time you ever came on my radar I think must have been 2005, somewhere around then, I discovered Forester and I was on my Max journey and Forester fast-forwarded me in a way in that I was, holy crap, this is kind of in ways what I've been trying to build. If anything, maybe it stunted my Max learning because I just got lazy and used Forester for a whole minute there.

There's definitely some magic about that. And, I think you might find it amusing if I tell you how I made it.

ORIGINAL FORESTER.jpg

I think it was in about 2005 that I started to make it and I was doing this album called The Forest And The Sea, which got released in 2006. And, I'd been recording in loads of forests and I'd noticed that because of the trees, sound doesn't travel as far. Say, you move through the forest, you can hear stuff that's happening in a more isolated way. And so, those, I imagine, sound sources and their spheres of influence, I thought, oh, this would make a great interface. I then over the next few months became very intimately acquainted with the LCD object and how to... and, oh yeah, I had to go back to a lot of high school math business.

Because there were no objects. Now, there's an object in Max called Nodes, I think it's called. And, it basically does exactly what I programmed Forester to do. I honestly think I spent months making just the interface and then I made the sound part at the end and it took about four hours to do the sound bit.

Yeah. But in my head, it was like, oh yeah, as long as the way you interface with this thing feels like magic, then the sound will too. I think I got quite lucky because actually over the years I've found that if you don't get the right sound for a physical instrument or a GUI, then it doesn't work.

That's really interesting, John, I hadn't thought about that, but there was somethingfound very attractive about Forester. Firstly, I love forests. I grew up in Tasmania and now, thankfully, now live in a forest again and I find them calming and just an absolute joy to be inside of and around. And, I found the GUI very attractive. It's so great you've shared this because just being in it was fun before you even got to the cool sounds.

It's quite an unusual GUI, especially for the time, I think, Maybe there was stuff like that, but I hadn't seen anything like it. And then, also what's nice about it is that the sounds are essentially 50% of what you put into it. So, it doesn't make any sound on its own until you start putting your field recordings or your studio recordings or whatever into it.

There was something about it that had this fluidity to it. This natural, obviously environmental quality, and it almost had this kind of semi-modular quality in the way the trees... You could clump the trees and you could walk through the forest. Yeah, it's a good point. Other than obviously just Max in itself or Reaktor or whatever, there weren’t a lot of modular electronic software GUIs that I recall at that time.

Who was the guy, Ross Bencina from Melbourne, Australia. He developed Audio Mulch. That did have a node-like interface for one of his granular effects, I think.

Yeah. I definitely used that a little bit.

AudioMulch_05-K9UehgLRqFhKjuZjgHAQ_zA.L1UmdrZr.jpg

It was really inspiring. It's so weird because I never knew how that thing worked, I think. Do you know what I mean?

Yeah. It had its own space. It had modules and object-like things, but then it did some unique stuff that I don't think anything else did at the time.

I wanted to take a bit of that. I wanted Forester to be a little bit mysterious. You can't just put in, I want 500ms delay on the left and 250ms delay on the right. It's not that kind of software. It's kind of, you touch it and then see what happens.

That's definitely important. There was this autonomy to it as well like once you set it off on its path, it was away. I think that's what really attracted me to it because, yeah, I was trying hard to make generative stuff and had somewhat succeeded, but it certainly wasn't as versatile as Forester. And so, it was just fascinating to me to put this stuff in and be continually surprised at what came back at me.

It's interesting. It's like generative music in a way that what comes back is not necessarily cool music, but it's definitely stuff that you can find places for and use. I found that lots of people used it for film soundtracks.

And I can't remember who it was, but I think it must have been a couple of years after Forester was released the first time so it must have been about 2008, someone wrote to me from a record label saying that 90% of the demos just sound like they're just sounds thrown into Forester.

There are people that have emailed me at least once or twice a year between 2006 and 2022, when's the next version coming out?

maxresdefault.jpg

I guess that was the impetus, right, for recreating it. It was like having some time and space and some distance from the first version, right?

For me, I can only do stuff when I really feel it, when I'm really feeling that I'm fascinated or excited about it. And, I just spent ages making this master, do everything patch inspired a bit by chatting with James Holden, actually.

. So we would communicate on a fairly regular basis. He was building this really amazing patch and occasionally he'd be like, how do you get this to work? And I'd be like, oh, I'm not sure, maybe try this. And sometimes I'd be able to help, other times I'd just be like, wow, this is crazy, what you're trying to do, but carry on.

Yeah, you should speak to him, he's got... 

FONyw8CXMAEyUmD.jpeg

I've seen a little bit of it on Twitter. He shares little glimpses into it and yeah, you're right, he's someone I need to talk to and catch up with. I first saw him at Loop, actually.

I had my first decent chat with him at Loop, actually.

Oh, was that the same one we were at in 2015?

Yeah. He's really good at Gen. He's got this kind of brain that really works well for Gen, but yeah, he's got a very interesting way of working and he's very committed to making it happen in Max, which it's quite inspiring. So I think I'd been inspired to try and do a similar thing.

And I thought about Forester and I thought, well, maybe I'll try that again. So yeah, I just got excited about having a really flexible architecture for sound. But, the first version of Forester has got fixed architecture.

So all the trees are mapped to delay times and amplitudes and drives and stuff, but it's basically got its sound and you can explore it to a certain extent, but the new Forester has got loads of different modules and it's just got endless kind of possibilities. And yeah, I've done a few gigs with it and it's like, wow, it's constantly surprising me, which is pretty exciting.

Leafcutter John presented his fantastic Light Sensitive Instrument at the Max Connect event at Loop, Berlin.

Leafcutter John - LDR/Arduino Instrument at Max Connect, Loop Berlin

Yeah. So, in some ways, then the first Forester was an instrument and then the Forester 2 is more like a collection of instruments, in a sense.

So you can use it in a lot of different ways. You can be working on a track and think, "Oh, I want to have this particular aspect of it process" and it can do that really easily. But then a month ago, I played with a pianist friend of mine Michael Wollny in Austria and for the first 20 minutes of the gig, he and the saxophonist played and I just recorded chunks. I just sat there on this stage recording little chunks. And then, after 20 minutes I started playing with them and it was just, yeah, this is a great use of Forester.

There is a video. It's a full gig. It's about 90 minutes of stuff, but yeah, a really interesting way of working. It's one of those things where you've already got a framework to play with. And if you want an extra thing you could, I can just write another little bit to that patch. I don't have to make all the interfaces and what have you.

I don't remember exactly personally when I hit that point with my own Max patching, but it's a beautiful thing when you're able to create a framework for your own creativity.

Yeah. Definitely. It's worth the price of admission, isn't it if something just gives you some little gem that you weren't expecting.

It's a really nice thing. And, a lot of us spend a lot of time working or playing or both on our own. One of the things that I always fancied was making myself a little electronic band, you know? So there's a kind of aspect to that. Especially where Forester moves around of its own accord, there's a kind of element of it just doing its thing while you do your thing.

It really is a performance tool the laptop, a symbiotic relationship between you and the computer/program you’ve developed then?

Yeah. I think, personally I was doing gigs when I'm sure you were when laptops started being used on a regular basis. And, I was pretty quickly dissatisfied with the way that people were generally just sitting behind them, looking at them.

And so, pretty quickly, my sort of technique to help people understand was that I would show a sound going in by actually making that sound in real time and then be entertained by how it was going back out again, which is something the new version of Forester does really well. You can just record really quickly into buffers while it's actually treating that buffer. But yeah, people find all sorts of marvelous ways of connecting with the audience or not at all. There were various acts that just sit behind the laptop and that was it.

This reminds me of the first time I ever saw you play, John.

openframe_poster.jpg

We were on the same bill in Australia at The Powerhouse Museum. 2007 I think?

Okay. So you were playing, you sat on a chair, you had the laptop and you were doing what you just explained, you were showing people the sound going in. You had an acoustic guitar with you.

Yeah. You were playing and it was all going good and then the laptop crashed.

And you had to reboot and you told jokes. You were telling jokes to the audience and it happened twice during your performance. And it was like, wow, that was amazing. You just kept the candor in the whole set and you totally won the audience over. Because, 2007, I think, this was, laptops, they took a little too long to boot back up. There was an awkward distance between the last sound and when you'd finally get back to making sound.

Yeah. Because it would take a couple of minutes to boot back up. And then, you got to load your Max patch.

Then, you've got to see if the audio interface is still there and all that business. That tour was fairly insane. I think we were probably very tired.

And, we'd driven the whole length of Australia in a '76 Mercedes.

So, it was kind of fairly insane. And in fact, Sebastian Roux was in the back of the Mercedes with me.

 and she released, I think one or two electronic albums. Really beautiful music, really quite an individual voice. And I'm not sure if she's still doing music or not.

She and possibly her partner for a bit drove and I think we must have annoyed them so much because we were so bored in the back of the car. We were being so stupid. She probably got driven to distraction, but it was amazing. Which is really nice. And, we ended up in Adelaide.

Yeah. Okay. That makes sense. Weren’t they from Adelaide?

Melissa, she lived in Adelaide at the time.

But we started in Perth, so we went to Perth and we did a gig there and then flew over and then drove down from Brisbane.

And then, we went to Canberra. Various places. It was fun.

Yeah. That drive down the east coast of Australia is one of my favorite drives to do in the world.

There's big objects, aren't there on the road?

Big_Merino,_Goulburn,_Moondyne.jpg

That's right. The big shrimp, the big banana, the big sheep. Yeah, that's a real Australian thing, for sure. Tourist stop to get a pictures.

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