BILL HOLLAND: Okay, so we're here with your Mac Book Pro again, and you have Ableton open. We've talked about how you bring loops in from Logic, but let's talk a little bit about how you go about creating your Live Set. Now, from what you were telling me, a lot of times you approach your live set from more of an intuitive standpoint. You come in and you bring the loops in, you test out what works and what doesn't work with the crowd and then you go back and re-edit that, which is different than somebody who might be doing something that's song based.

KATE SIMKO: Right.

BILL HOLLAND: So, this is really interesting how you're working with this and it's a different perspective than a lot of the ones we've gotten so far. So, let's talk a little about what happens. You have your loops in the time line, and now you're ready to work with them.

KATE SIMKO: Okay. So, for example this song, this one is a remix that I did of Jonas Bering, and I have all the parts in here and I've played it live. And so, here in Live, I have it set up so -- you know, I've been playing this for a few months now that I feel like it's really a solid structure where I'll have notes, for examples, for myself here where I'll say, you know, add a certain channel, add channel 12 after this loop that I have in channel 9 which I was originally you can see like 37 bars, I cut it to 24 bars, and I realized that, you know, that's about as long as you want to hear that sound before you really start getting tired of it or whatever that that's about how long it should be and then, you know, to add something else, and then even making notes for myself just in case.

Usually I'm fine but in case for whatever reason I'm nervous, I have a hard start, different effects, so I have, you know, later in the song, I'll see a note here to do a ping-pong delay on track 9, you know, which is this just kind of synth sound so you know that I can mess around with that. So, if I feel like I'm rushed or, you know, like this one, you know, I don't want to blow through my songs really quickly, I think that when you're nervous you can do that. And like I said, I'm actually not getting nervous so much any more. But if you are nervous, you tend to finish your set in 45 minutes instead of an hour and 15 because you just, you know, you feel like your just playing everything way too quickly. So, that's one thing that I do. It's that as I'm playing the song, it's more and more I'll make notes for myself and I think that that's, you know, one thing in Live that you should be comfortable doing if you want to have a Live Set. There's nothing wrong with that to put things in here that are just for you. Basically, I get the arrangement to the point that I'm comfortable with and at that point I save the Live Set as the name of that song and then I work on the arrangement in Live.

BILL HOLLAND: Well great, Kate. Thank you so much for showing it to us. Now, the next step of course is you've taken all these loops and you perform them live and now you have basic structure. But now it's time to really tighten this up into a final track, so let's go back to your mastering suite and we'll come back to this in a little bit and look at how you make the final selection. Thanks for joining me.

KATE SIMKO: Okay. Great. Thank you.

BILL HOLLAND: Everybody, come back for more on Gearwire.Com with Kate Simko at the Mosaic Music Studios.