This is a posting that has been influenced by the last few days at STEIM. Briefly, I wanted to reflect on whether I had been using a proper setup with regards to a controller. Talking about music, particularly electric guitarists with Frank, I started to realise the importance of personalising a style that also is resultant of continual crafting of resources used. We discussed what comes about with NOT modifying and extending a performance setup, but actually ‘really knowing’ the setup’s ingredients regardless of the technical complexity of the setup. So in my case I am opting to still use what I think of as very low-level controls, such as a series of knobs and pedals which will manipulate spectral processing in Max. I am working on a composition that uses recorded instrumental sound sources(percussion and sax). My last few performances were with laptop and drummer, so now I would like to extend to the ‘instrumentalist'(in this case drummer), the use of pedals, that will add to the internal dialogue between the laptop during performance. More importantly is the expansion of sonic range and ‘orchestration’ of the range. Why would I record sax and percussion sounds, but then only to perform with a different player using the relocated processed sax and percussion material? In considering the issue of liveness, I am simply a hybrid. I am choosing to allow the player the opportunity to stimulate processes with pedals, and also have the opportunity to instigate change in the patch to move the composition forward. There are presets that allow for sonic change suddenly. From the perspective of individual presence during play, I think that the performance dialogue is enhanced by furthering the sonic options in this manor of augmenting the resources for the percussionist.