The Monster became necsessary because throughout the years I developed many different sound treatment algorithms that were linked to a specific composition performance or improvisation. At rehearsals with the Ensemble für Intuitive Musik I would often get an idea but just then I couldn’t start to program of course and say to the musicians “Now wait a second I need a half hour to make a new Max patch.” I wanted a sort of “hyper” Max patch an engine that contained all previously developed sound treatment possibilities.
Ketty Nez: An Interview with Hans Tutschku. CMJ 27-4 Winter 2003
Tim Place had similar motives for developing Jade. Me and Håkon Lindbäck often ends up asking for a half hour during Verdensteatret rehearsals. I’ve been doing the same when working with e.g. Frode Thorsen and Gitte Bastiansen. It often drain creative energy out of the other artists and but on the other hand: Very often we need DSP algorithms that are custom made for the situation. A monster patch will only work if you’re constraining yourself to the modules and processes already present in the patch or elseway are able to do development out of rehearsals. That’s also slowing down progress and I often find that if I’m not acting on ideas when they arrive I risk loosing them or loosing faith in them them before I get a chance to explore.
