Thanks to a significant performance opportunity near the end of 2015, I must reboot the long-neglected live side of my musical practice. What better than CreativePact to launch into it!

Kicking off this CreativePact, here's a look at the track which will constitute the main piece for the Union Chapel concert. It's an electronic pop song called 'Automaton'.

Vocal recording was the name of the CreativePact game today, with some accompanying lyric (re)writing to boot.

Can you guess what I did today for CreativePact? That's right, as anticipated I got on and comped the vocals recorded yesterday.

Computer text-to-speech (TTS) is a significant part of Automaton, and today I began the process of adding such voices to the track.

Driving, driving, driving. Much of today's time was taken up doing just that. But while I wasn't able to produce anything tangible for CreativePact today, I have been mulling over the direction I could take with Automaton.

I feel a bit cheeky posting this for CreativePact as it isn't very substantial. But it is a small step towards the goal and also helps tidy up the idea in my brain.

Know your enemy. Well, the organ isn't actually my enemy, but understanding the mechanics behind the instrument will be vital in translating the organ part of Automaton to the live setting.

Not much achieved in CreativePact today, but I can confirm that saxophonist Pee Wee Ellis is slated to take on the solo instrumental duties for Union Chapel's performance of Automaton.

Another clear day to get some vocal recording done, and record vocals I have. I even squeezed in some comping.

Remember the question I asked on Music Stack Exchange the other day? Well it has bore answer-based fruit and provided more insight into scoring for organ.

The more I get into this project the more I want to use Maschine as the backbone for Automaton live. So today I planned out how the intro section could be performed.

Back after a weekend away and I took a look at how Maschine might be employed in the live setting. Unfortunately, it looks like Maschine's handling of third-party controllers may rule it out. But there is a solution: its name is Ableton Live.

The performance software for Automaton has been chosen, and it will indeed be Ableton Live! Today I confirmed that Live allows two controllers to be used to control the same set of clips.

It is official. Automaton now has a score. It has taken me half of the Pact so far to get started on this vital item, but after a good deal of pondering I have begun.

After a big day of constructing the body of Automaton's score yesterday, I was more in tweak mode today (also trying to figure out the best way to handle the song's intro section).

Pressed for time today, but I managed to make a little bit of time to keep working on the mix for Automaton, the vocals specifically.

Another short session of mixing today, continuing on from yesterday's focus on vocals. This time my eyes (ears?) were on a wider range of items, including the vocals.

I sat down in my studio today initially with the plan to work on either Automaton's computer voices part or the live saxophone part. I ended up doing neither, instead being sucked into working on the transition between sections 7 and 8.

I have returned from London having completed my awaited session with the organ at Union Chapel. It was a useful trip and I come away with some important details that will allow me to finish my organ score.

Back in the studio, where the task today was to arrange the computer voice parts for the song intro. This was preceded by confirming the transition work I did a couple of days ago sounded acceptable (spoiler: it was fine, with some tweaks).

A continuation from where I left off yesterday: writing, recording and placing the computer voice parts for the middle and end sections of Automaton. With the intro voice already in place I also reorganised the entrance into the track, having the organ fade in later to leave the arpeggiated synth to start everything off.

Way back in the prologue for this Pact I mentioned the option of a 25-minute set for the Union Chapel gig. Up until now I've been more inclined to just perform Automaton, but I'm now wondering whether to expand.

It has been four days since my visit to Union Chapel to get hands-on with the organ, but studio time has delayed progress on the score. Well that progress came today. Here is its story.

It has come to the time when I need to figure out how to notate for Live/Launchpad, and having given it some thought there may be a workable solution.

Previously, on Adam Jansch CreativePact 2015... I had come up with a system for notating the Ableton Live/Novation Launchpad combination adapted from standard notation. Today I attempted to translate that into MuseScore.

Finally I began the process of notating the intro to Automaton. As has become the standard in this Pact, I started by making some written notes on how to approach this.

It has happened: the intro section to Automaton's score has been written. (Shock! Horror!) And, as it turns out, MuseScore accommodated the final graphical elements I required without too much difficulty.

Inching closer is the term. I now have an organ score for Automaton with performer notes, so really I'm awaiting feedback on the score from James before I can finally put a stamp on it.

It's crept up on us, and all of a sudden we're at the penultimate day of CreativePact 2015. I have yet to discuss the tech setup I foresee for Automaton, so best get it in before final orders. (Because CreativePact is like a pub, didn't you know?)

Actually, that should be "Ending on some pedals". In my final CreativePact session of 2015 I delved into the effects pedals situation for the vocal and saxophone parts in Automaton. It marks the first time shopping has been a CreativePact activity (at least for me).

It's the Friday after the Wednesday, the Wednesday of the big night: Dorian Zoyd's live debut as part of Union Chapel's final Organ Project concert. The question of the moment: how did it go?