This is not a question specific to Digitakt but I’m really intrigued and interested to know how people note the way they are going to perform tracks in order to remember most of it easily.
For example, here you can see that both Phase Fatale and Terence Fixmer have notes in front of them and reference to it:
https://youtu.be/wcMcBOaT4v4?list=PLZlqrWBsEt8xFQamP2LXaoNbnWrA3p9WU&t=768
or here
How do you display things, what elements would you write down, what would you let for improvisation?
I just practice. I used to try to take notes for DJ sets and live hardware performances and would get really specific about what I wanted to do. It has never worked for me. the amount of mistakes I make trying to read and think about notes while performing is like 10x higher than just practicing and improving based on the practice.
I’m sure it works for others though 
I’d write down times, actions etc almost everything was pre planned and all I would do is get confused and make mistakes.
It would distract me from being in the moment and improvisation. So I never have notes with me. One thing that helps in that regard is standardizing things a bit. For example, when i look at that photo, you could also always set stab on track 1, bass/synth always on track 2 etc. With of course some freedom (multipurpose tracks for instance). I guess those notes are for digitone and it’s the one instrument where this is a bit more difficult to structure. But still.
Looking at a piece of paper, reading it, processing it, thinking about the things to do, maybe look again… It distracts from the actual performance and flow. YMMV of course
In the past I did use visual scores, just a somewhat abstract representation of the basic ebb and flow, a few years later I found out it was not something new and had been around since at least the 1950’s.
But for about the past 20 or so years I just did it all by heart, mainly because I built up a vocabulary of structure and scheduling that worked well for the stuff I do.
This too, standardisation of where things are makes performing in front of an audience a less stressful affair. There is a good reason why masking/painters tape is so widely used on mixer strips
Well, in a way I completely agree with both of you, and so far, I still need to complete at least one full track before thinking about performing.
But I was genuinely curious about this. I mean it doesn’t have to be the full track “layout” but maybe some tips on which parameters could be played with, without risking an audio mess (thinking about the digitone mostly on that one)
I’m still quite new to the field of producing music in any kind but I’m quite a methodical person, so I do try to structure my tracks in a logical way.
It’s not always easy indeed, especially that I had the tendency of always trying to have something on every tracks just because they are available until I realized that less is often more (I’m a graphic designer, I should know that 
).
So far I use the DT and DN together (my Wavestate taking dirt for now).
Still blocked at the one pattern problem which I mostly start jamming on once I like it and never end up producing something complete.
Jamming on ONE pattern directly after creating it is one thing but I find hard to remember more and that’s the reason I look for light visual help (designer problem, again).
If ever one of you find one of is old visual notes, I’d be happy to see them.
I should also add that I rarely ever perform in front of an audience, done it like 10 times in 30 years, but I almost always perform tracks live for recording purposes, so the principles are somewhat similar.
It can be a good idea to get some willing friends/family to be your audience, do your set without any input from them until after, and ask what they thought.
Also like anything else, practice and record.
I never made any notes for gigs. Practice practice practice. Same as playing in a band. Practice until its muscle memory. Keep everything simple. Track 1 on my octatrack is always bass drum for example. Less is more.
Improv isnt improv if you’re reading from notes.
You’ll get better the more you do it. One way to practice is, pretend you have an audience record yourself. Then give it a couple of days amd listen back to the recording.
…like dave mech says…first of all, make sure ur track layouts are consistent throughout all ur songs…bumm and tschakk better always be provided by the same tracks…and so does the hihat, bass and lead line…harmonic content and so on…
have patterns totally predefined at hand for the each first 2 minutes of a song, then some patterns for jamming and look where it might take u, always with an an escape plan to land safe on one of those predefined ones again…
while a setlist is always a good thing…but only from song to song…not during a song…
basic rules for live performance remains…don’t rush…don’t panic…take!..ur!!..time!!!..
I am not a performing musician, but I have two minor and related points to make. The first is that, when I had to do recitals and festivals while studying an instrument, it went much better once I had the music memorized. Often the music was at hand, but only as a backup, not intended for normal use. The other is that when learning material or preparing a talk, I often make notes that I don’t look at again, but they still have an effect. There is something about activating alternate neural pathways going on that seems to help.
Well, you don’t want to know how I prepare talks 
it’s generally 99% improvised. The only part which is not, is that I had the meeting scheduled.
I am with all of this.
When I’m first setting up a live set I take copious notes. But as I memorize and practice, practice and memorize (ad nauseum until infinity), I look at the notes less and less until I don’t need them. I don’t think having notes on stage is beneficial. Every time a bandmate ever did it they’d just fuck up worse because of it. Like they blow a note and instead of using their senses to look and listen they check some bullshit paper, make the wrong move, and are now making me look like an idiot by association. If you want to know your gear back to front, inside and out, practice. If you want to know your music like the back of your hand, practice. If you want to have the least amount of struggle righting a mistake, practice. If you want to feel comfortable while performing, practice. If you want your performance to have some impact on those who showed up to experience it, practice. Unless you are intentionally going full improv, for fuck’s sake PRACTICE. If you can’t sleep, practice. If you’ve been sleeping then wake up early and practice. Practice when you have time. Probably practice when you maybe don’t have time. Practice when convenient. Practice when inconvenient. Practice until you’re blue in the face Then practice more. It’s the only way to even have a hope at becoming one with what you’re doing.
That’s exactly how I run whole sets.
Every song has standard setup of where tracks live, scenes on the OT and such.
There are few guerilla tracks that have different elements on them.
All I do is Jam with what I have, saved and ready to reload the whole pattern or part to return to base camp.
But all I really do is have fun, build tension, drops and breaks and move to the next song.
Rinse and repeat.
The only thing that I sometimes predetermined is song order.
And even for that I plan the Playlist ahead so while building the set each song is in the right position and all I have to do is move the patterns/ banks up.
Yeap same here. Makes it so you can focus on the arranging rather than searching
Then I guess I need mostly to learn more about arrangement for it to become second nature.
I would still like to try finding some kind of notation system which works for me, at least as a learning tool even though I might not use it later while performing (well so far, i’m a solo bedroom wannabe producer with myself as an audience)
You’re on the right path and in the right spot to learn.
Best way to learn how arrangements work is to listen what your favorite artists do. Literally, dissect the songs you like and listen carefully when each element comes in and how they evolve. What happens to create tension? How is the tension resolved?
Simplest way is to add layer by layer. Open up filters or increase reverb length. Stuff like that.
Do that while jamming.
Over time you’ll get a feeling what elements need to come next and how long you let the groove roll till the next element comes in.
What do you feel is your biggest hurdle right now in building arrangements?
Hard to define as I basically starting producing music not so long ago, but I’d say that. my first problem is to create variations of patterns which feels different than the main one but still part of the same track, and also transitions in general.
I did try what you suggests and do some active listening, but it’s not always easy to pick up every single variations and evolutions within all the sonic elements.
I will try to do it more 
@RBS I’m actually in the same exact situation
…and I use taking notes for my DT tracks to remember what I have on every pattern and what I can do with every track.
I know that should (and must) be unnecessary and sometimes it is, but I feel more comfortable having these notes with me.
Conventions and practices (like @Annihilation_Squares says) will help me
One thing you can try is mute an unmute to get a quick feel for variations that you can then make into a new pattern.
Another tip is to keep the basic elements like drums and bass the same, but the bass line could play a different melody.
The idea is to give the listener sort of an anchor ( that’s the sounds you use, a theme) that identifies the song. If you add in things, change the melody for example you create variation that still relates to your songs identity.
Hope I made this clear?
All this is very dependent on the genre you produce.
That’s why it’s so important to learn by listening to what others are doing.
