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Conductr Controls Traktor and Ableton All in One iPad App

Wednesday, April 22nd, 2015

ConductrTraktor03

If you want to control Ableton Live from an iPad, you’ve loads of options. If you want to control Traktor – not so much. The best all-in-one option is Traxus Control, which is free (though it requires Lemur).

Now, one app does everything. The same app has modes for both Ableton Live and Traktor – meaning you can tote one iPad and be ready for both the live set and the DJ set. And on the Traktor side, you get fluid integration with Native Instruments’ DJ software – ironically, when NI themselves have no such controller app.

And the advantages are clear: no room to tote more hardware? Cramped DJ booth? Tired of having to use the mouse and display just because something you need wasn’t mapped? Doing a mix or podcast on the go and don’t have a controller handy? Solved.

At the heart of the new system is a Traktor controller module, adding to the Ableton Live modules that were already there. (Live modules include clip control, lovely XY pads, mixing, and a MIDI keyboard for melodies.)

For Traktor, you get three views: Player, Mixer, and FX. (One module is free to try out; Conductr is fairly functional even in free mode before you commit to in-app purchases for extra features.) As with Conductr’s Live controls, you can customize your iPad to view whichever modules you like. Keep one on the display to make things simple (ideal if you’re augmenting other hardware), or fit up to four to cover all the bases. There are options for display, too.

Inside the Traktor module, you get control of up to four decks.

There are tools for looping, jog/bend, tempo, sync, cueing and transport, and the like. And the interface really comes alive with effects controls – something I already liked about TKFX.

All of this is fit into the tidy, stylish Conductr interface.

You also can use your iPad in either wired (USB) or wireless mode, depending on your preference.

See more in our gallery.

ConductrTraktor06

ConductrTraktor05

ConductrTraktor04

ConductrTraktor02

ConductrTraktor01

Now we just need something like this for Serato.

More:

https://www.conductr.net

The post Conductr Controls Traktor and Ableton All in One iPad App appeared first on Create Digital Music.


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A New Book from Ableton Wants to Help You Make Music

Wednesday, March 18th, 2015

abletonbook

Imagine if the Eno/Schmidt Oblique Strategies, a music theory book, and an Ableton quick-start manual all got caught in a transporter accident with a bunch of different music producers.*

That seems to be what you get with Making Music: A Book of Creative Strategies. In one sense, the aim is to be none of these things. It’s not a manual. It’s not a template for music making. It doesn’t, apparently, rely much on musical theory in the traditional sense.

But, then, if you know the man behind it – Dennis DeSantis, a classical percussion virtuoso and composer turned documentation czar – this all makes sense.

The book is divided into the three places where you might become stuck creatively:

1. Beginning
2. Progressing
3. Finishing

And in each section, it includes both problems and solutions, plus hands-on reflections from artists, ranging from experimental to club. (I wish it had sections for “soups” and “desserts,” but this isn’t my book.) Sometimes, it’s talking about specific harmonies in house music. Sometimes, it’s reflecting on the very act of listening.

parallel-harmony-2

In fact, if anything, the whole thing seems a bit like Fux’s Gradus ad Parnassum rewritten, Julia Child The Joy of Cooking style, for anyone frustrated with a blank or overcrowded Ableton Live session display.

But I’m delighted to see it. I can’t imagine myself trying to organize a book in this particular way – we’ll talk to Dennis shortly about how he went about it and offer an excerpt for you to read, if you’re curious. But it seems a marvelous challenge. And it represents the sort of discourse I hope we have more of – one that lies at the intersection of philosophy and creativity and the specific particularities both of musical craft and technological praxis.

pages

makingmusic

A composer in the 18th century had to tackle, simultaneously, the deep meaning of poetry and whether that clarinet player could really easily finger that melody they just wrote. So it shouldn’t seem a conflict of interests when we have to wrangle with a particular detail of automating a plug-in and the grand sweep of the form of the track we’re finishing. The clash between the specific and the profound, and the desperate struggle to actually make something we like, is at the essence of creative process.

If you have specific things you’d like us to ask Dennis about this question, or documentation of music software in general, or cool things he knows about new music on the marimba, let us know.

More info, excerpts:
https://makingmusic.ableton.com/

Note to wise people: has any music software company really done anything like this? I don’t think so. For that matter, I can only think of a handful of books that attempted this sort of scope (though a smattering of this way of thinking has been added in over the years). One advantage of Ableton as patron: you don’t have to convince a publisher this would work.

Obligatory nerd-out: *Okay, think of this as the reverse of the transport accident in Season 1, Episode 5 “The Enemy Within.” In this version, all those parts form some new composite that comes out neatly as a … book. Which is cool. Also, Space Dog. I may be a hopeless nerd, but the advantage of hopeless nerds is we always know where to find weird furry unicorn dogs for you.

The post A New Book from Ableton Wants to Help You Make Music appeared first on Create Digital Music.


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LK Gives Your iPad or Android Tablet Easy Control of Ableton Live [Gallery, Hands on]

Monday, March 9th, 2015

1

Ableton Live is happily running on your laptop. It’s not yet running on your iPad or tablet, or optimized in any way for touch. And that’s left a window wide open for touch controllers.

Now, the question is, is there room for yet another control app? touchAble retains the crown for all-around control of Ableton Live; there’s very little this app doesn’t do, from replicating Live devices to MIDI editing to custom templates.

But the relaunched LK, released today, has a few reasons for consideration, as an alternative or complement to other solutions.

First, if you’re an Android user, LK’s Android tablet support alone means it just became your go-to choice if you have a tablet that isn’t an iPad.

Second, LK’s simplicity and modular design I find appealing, as you’ll see in screenshots here. LK’s narrower focus in its main controller view make it particularly accessible. Devices open below the clip/mix view and expand and collapse just as they do in Ableton Live. And dedicated views for MPC-style pads, an X/Y viewer, and MIDI control are clean and easy to understand.

4

The MIDI PADS module alone I find worth the cost of entry, even if you’re already using another iPad tool for Ableton control. With chord mode, friendly controls, and a built in arpeggiator with sync, plus lots of space for your fingers on the layout itself, it’s darned-near perfect. I increasingly find an iPad mini an essential accessory for work – and something I can fall back on when I can’t lug around extra gear but want to keep making music. It’s also easy to imagine this running alongside a Push for even less reason to go over to the computer screen – which can be a real concentration breaker when you’re trying to stay in the flow.

When you do want to connect LK, you can use either a wireless connection or a wired MIDI connection. The latter works with a 30-pin or Lightning (or Android USB) cable, so that you don’t have to worry about a wireless connection getting flaky when you’re trying to work.

MIDI control isn’t limited to Ableton Live, either. The app outputs MIDI, so with a little configuration, you can use it with external gear alongside your Live set, or control something else altogether.

Last week, we saw another option for routing MIDI between apps and computers in the form of midimux. Developer Nuno Santos and I just tried out Midimux in conjunction with LK, and it works perfectly. That opens up additional routing options for those with more sophisticated setup ideas in mind. Previously:
Now, Across iOS and Mac, Everything is Musically Connected [Video]
Here’s How To Connect the iPad’s Easiest Pattern Maker to Your Mac [Video Tutorial]

There’s really nothing stopping you from trying LK, too. The app is free, with each module operating for 15 minutes. That gives you time to see if you like this approach. If it fits your approach, you can unlock modules a la carte. I’m also intrigued to see where the LK developer goes next with future modules – I’m hearing word of a piano style controller and a step sequencer.

Current pricing:

LAUNCHPAD – US$ 8.99
MIDI PADS – $ 4.49
MIDI CONTROLLER – $ 4.49
XY PAD – $ 4.49

LK replaces the previous app LIVKONTROL, but if you already bought LIVKONTROL, get in touch. Nuno tells CDM, “We are offering the activation of the respective modules to all previous buyers that present to us the purchase receipt.”

Nuno’s tech startup Imaginando in Braga, Portugal has been busy. It’s also the source of the excellent TKFX, which I find – by far – the easiest way to control effects in Traktor when DJing. More on that soon:
TKFX Gives You Crazy-Easy iPad, Android Control of Traktor Effects, KAOSS-Style

http://livkontrol.com

Documentation is online:
http://livkontrol.com/lk-live-controller-help

I’m having a lot of fun with it. Here are some shots of it running on my device:

IMG_0070

IMG_0069

IMG_0068

IMG_0067

IMG_0066

LKBRIDGE

The post LK Gives Your iPad or Android Tablet Easy Control of Ableton Live [Gallery, Hands on] appeared first on Create Digital Music.


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Hands on with the Ableton Live 9.2 Tuner [Video]

Wednesday, February 25th, 2015

Hey, sometimes it’s the simple things.

I was going to write something, but – well, it’s a tuner. Watch the film, from Ableton Liveschool. And I have to say, Ableton has found a way to make this Device more interesting than previous Max for Live efforts. It even has a histogram.

Perhaps the most newsworthy element here – a sign of the times – is that the resurgence of analog synthesizers has meant that tuning outboard hardware is now again an application for tuners. You’ll see in the video here an example with the classic MOOG Minimoog, but see the Ableton-shot photo below for an Arturia MicroBrute. Keyboardists, not just guitarists, are now using tuners, too.

If only we had some digital means of keeping things in tu– jeez, what the heck is going on, anyway? Strange, cyclical days.

Enjoy!

tunerbrute

The post Hands on with the Ableton Live 9.2 Tuner [Video] appeared first on Create Digital Music.


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Ableton releases Live 9.2 as public beta

Wednesday, February 25th, 2015

Ableton has announced that the upcoming Live 9.2 update is now available as a public beta. This update improves and expands on several key functions of Live software, as well as adding new capabilities [Read More]
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Add Visuals to Ableton Live with One Device, and Other Neat Tricks

Friday, February 20th, 2015

Isotonik Showcase – Part ONE from Isotonik Studios on Vimeo.

Music software can treat devices as melodic instruments, as percussion, as audio effects… so why not visuals, too? Of course, there’s no substitute for a dedicated visual artist / VJ in a set, but Brainwash HD at least gives you the tools to integrate performance visuals as an element of a set in Ableton Live. It’s the visual equivalent of the sound modules we’ve been looking at lately.

And Brainwash is just one of a number of clever little Max for Live modules from Isotonik Studios, as seen in the video at top. CDM has gotten an exclusive first look at what they’ve been building.

Before we get to those acid-watched visuals, this showcase also shows Max for Live tools you might use for any number of tasks. Follow and Return allow you to trigger actions based on clips. Follow expands on the built-in Follow Actions in Live by setting up any action you want when a clip finishes playing. I’ve long felt that Follow Actions were needlessly neglected by Ableton since their introduction; I’d still love to see more internal, integrated behavior, but for making your own custom performance rigs, this looks terrific.

And yes, this performs something Live itself ought to do, but doesn’t – it lets you set Scenes as Follow Actions.

The Return device is a hub for adding modulation, also triggered by clips (and Session Automation, which means you can draw in envelopes for extra precision and control).

You’ll find those devices – and others – in what Isotonik calls the “Modular Series.” This is modular not in the sense of sound modules – more like utilities that listen in on activities in Session View and respond accordingly.

Modular Series: MAX4LIVE BUILDING BLOCKS FOR ABLETON LIVE

But let’s talk about this visualizer tool. It’s intriguing stuff – a bit like having an analog video synth built into Ableton Live – and I know it’s something many of you have been looking for. The tool, just updated as “Brainwash HD,” is the work of Ned Rush. If it reminds you of VIZZable, a similar series of modular video plug-ins for Ableton Live, that’s no accident – VIZZable actually assisted on this project to improve output.

Here’s Brainwash in action, combining audio modular with its visual capabilities:

As described by user SunFallsMusic:

Here, Brainwash is loaded in Ableton Live 9, with my eurorack modular being the audio source.
Thonk Expanded Turing Machine is the complete brains behind this session driving all the percussion via the Steady State Fate Propagate. & the SynthTech Modular e355 providing the all the background texture thru the Make Noise Erbe-Verb.

And an earlier video. I like the desription “hipster’s psychedelic dream tube” – sounds about right.

Features:

  • Live audio input from wherever the Device is inserted
  • represent sound with waves or bars
  • Feedback, rotate, and zoom are where this gets interesting
  • Freeze, color, tone
  • Live parameter control – so mapping to MIDI is a good idea
  • High-resolution output
  • 64-bit support
  • Syphon support on Mac
  • Spout support on Windows

Syphon and Spout support in particular I think will interest you, as it of course means you can capture this as a video – ideal for uploading.

brainwash

I’ve been playing around with it a bit, and I’m impressed. Performance for me is pretty lightweight, adding very little overhead on my 13″ MacBook Pro Retina. It’s possible to go more minimal and less psychedelic, too, if you want – that’s all down to the controls.

Seems interesting. With this and VIZZable out now, you have some real options for adding visual output to Live sets. If you make anything cool, do send it our way!

Check out the device:

http://isotonikstudios.com

For Brainwash HD:
http://isotonikstudios.com/ned-rush/

The post Add Visuals to Ableton Live with One Device, and Other Neat Tricks appeared first on Create Digital Music.


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How OSCiLLOT is the Smartest Way to Put a Modular in Ableton

Wednesday, February 18th, 2015

Racks and knob-encrusted modules and wires tangling together to make sound – this is a perfectly lovely thing. But the computer sitting in front of you, the one you probably turn to when it comes time to record and produce, is also capable of vast sonic powers. Why force a choice between the two, when that machine can let you explore the frontiers of sound, too?

The recent announcement of OSCiLLOT brought open-ended patching to Ableton Live users. But it’s only getting started. Today, we get to see it evolve, learn to use it to make the sounds we imagine, find out about the development process, and better understand why it matters.

And now is the perfect time, because OSCiLLOT’s creators have been busy beefing up the system they just unveiled. For starters, there’s a new tutorial video to teach you how to use it (top). And, you get two new modules: a comb filter, plus a terrific feedback module that lets you route sound back into your modular rig. (I’m especially pleased about that, as I was getting muddled coming from Pure Data/Pd, in which feedback loop routing works differently. Well, and because generally feedback is great fun.)

OSCiLLOT versus Max 7. First off, let’s clear up some confusion. Cycling ’74′s Max/MSP recently brought its own modular environment to the table, entitled BEAP – the feature I called one of the best reasons to upgrade to Max 7. And so some readers assumed that this means OSCiLLOT is redundant. It’s not. If you’re using Max directly for patching, BEAP is still a great environment – one that can help you learn modular synthesis techniques, make some great sonic creations, and connect to outboard gear.

But OSCiLLOT isn’t BEAP. BEAP is a great learning tool, but it’s not so great when it comes to using Max inside Ableton Live. BEAP is monophonic, for one thing; OSCiLLOT gives you polyphony, which makes more sense on a computer. And – here’s the deal-killer – you can’t patch BEAP live when you’re working with Ableton Live. (You have to enter edit mode – and at that point, you’ve lost a true modular feel.)

oscillot_modules

OSCiLLOT, its creators tell CDM, is really built to be a modular instrument running inside Ableton Live. Not only does it support full polyphony, but you can even re-patch your creations as you play inside Live. That makes this much closer to the software equivalent of having physical modules and patch cords, and it transforms OSCiLLOT into a spiritual successor of beloved musicians’ instruments like the now-defunct Nord Modular. (The Nord was specifically an inspiration for the creation of OSCiLLOT, for any of you missing that hardware.)

Co-creator Nico Starke notes that the philosophy of OSCiLLOT is a bit different, as well, architecturally speaking.

I think Oscillot is indeed more tailored to making music. One aspect that is maybe not so obvious at first glance is that many BEAP modules are very large, which makes it a bit tricky to navigate around in a larger patch. Oscillot modules are a bit more optimized in that regard.

By the way, in the end, Nico notes it’d be nice to use BEAP and OSCiLLOT together. If you’re listening, [BEAP creator] Stretta, we’d love to see interoperability here! (Stretta’s talents in the Max and monome communities are incredible, by the way – search for his name and you’ll see what I mean. A Stretta – Nico – Christian team-up is basically a dream team. Anything we can do…)

How it was built. Making OSCiLLOT work this way inside Ableton was a big engineering challenge. “After we had the rough framework working,” co-creator Christian Kleine tells CDM, “the big challenges were the undo system and GUI performance.” That’s right – you get undo. You can learn more about how the product was engineered in an extensive interview Max for Cats posted to their site:

Creating a Modular System for Ableton Live – Exclusive Interview with the Makers of OSCiLLOT (Part 1)

Nico adds that the other biggest obstacles were — “getting patch cables to work in a locked patcher / or respectively in Live … saving module data like positions, connections, parameters with a Live set / preset — unfortunately we didn’t get that for free as in traditional Max devices.” And he reiterates that adding undo and redo actions was non-trivial. “[Undo/redo] works automatically in traditional Max devices,” Nico says, “but not in scripted patchers as we use in Oscillot.” And polyphony required some effort, too. “Eventually this was easier than expected,” he concedes, “but it took a while to figure it out.”

All of this, Nico says, added up to four to five years of work. “I took very long breaks in between, but it all started quite some time ago,” he says.

How to use it with hardware. No need to incite a software-versus-hardware modular debate here: OSCiLLOT is something you can combine with a physical setup. Max for Cats promise a tutorial film on that, but in the meantime, users like Fernando Carvalho are already off to the races:

To integrate OSCiLLOT with your modular rig, as with any software/modular integration, you need a DC-coupled audio interface so you can wire your audio interface to your gear.

Not all audio interfaces have that functionality. You’ll find a detailed compatibility list via Expert Sleepers (who make their own fine software for the task):
Silent Way: Device Compatibility

More discussion available on a MuffWiggler thread. (Site down as I write this.)

Basically, just about anything MOTU will work, plus the superb RME FireFace and Apogee Symphony. But so, too, will various cheaper options, including Alesis, so if you weren’t planning on investing in a higher-end option at the moment, you still have choices.

“I’d second Christian’s recommendation for Expert Sleepers interfaces,” says Nico. “These are just fantastic. Other than that, MOTU interfaces will usually work fine, too.”

And the OSCiLLOT team wants to make hardware interfacing still easier. “We’re just finishing up some new helper devices for working with external synths,” Nico tells us, “like a CV calibration tool (for proper 1V/Oct scaling) and a multi-channel CV routing tool. These aren’t necessarily required to control external synths, but will make it a bit more convenient when working with Oscillot.”

Euclidean

But where should you learn more about synthesis? Christian from Max for Cats has some tips for us on that, too. For learning this tool specifically, he tells us, “Reading the Quickstart lesson, trying to understand the examplesm and watching the tutorials seems to me a good start.” But brushing up on the basics is never a bad idea for any of us.

Gordon Reid has done a wonderful series on synthesis that Christian endorses:

Synth Secrets [Sound on Sound]

That’s half a decade of articles you can read there, a free, in-depth course in mastering synthesis. (Ignore the 1999-2004 dates – the stories are just as relevant now. Hey, some skills stand the test of time.)

And Nico says, well, get your hands dirty. “I’d really recommend to just plug stuff together and see what happens,” he says. “The big fun with modular synths is making happy accidents. Maybe start with a simple synth or a simple audio effect to understand how the system works (our first tutorial video should cover the basics), then add more modulators, sequencers, etc.”

The post How OSCiLLOT is the Smartest Way to Put a Modular in Ableton appeared first on Create Digital Music.


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How Does Novation’s Launchpad Pro Stack Up Against Ableton Push?

Monday, February 9th, 2015

Novation_Launchpad_Pro

One of last month’s more predictable NAMM announcements was, at long last, an update to Novation’s Launchpad line that adds RGB color support and pressure sensitivity. But that means that it’s easier to compare the new Launchpad Pro with the spendier (but also more powerful) Ableton Push.

It’s been a few years since the original Launchpad first commercialized the “grid performance instrument” concept popularized by the monome. Since then, we’ve seen Novation’s LEDs get brighter and the body get slimmer, plus the welcome addition of class-compliant support (opening up iOS and Linux compatibility and driverless operation). But the Launchpad itself remained a pretty simple grid of buttons. How hard you hit those buttons doesn’t matter, and you don’t get color feedback that could assist in knowing which clips you’re looking at.

The Launchpad Pro focuses mainly on what the grid can do. Now, there’s velocity and pressure sensitivity, and RGB color feedback – just as on Ableton’s Push.

So, the obvious follow-up question: why would you buy a Launchpad Pro and not a Push? There are some obvious and not-so-obvious answers to that question. First, the obvious answers.

Novation_Launchpad_Pro-overhead

It’s cheaper. Yep, this is the big one: Push does more than the Launchpad does, but it costs more, too. The Launchpad Pro isn’t in the bargain basement with the rest of the Launchpads, but its US$ 299 street compares favorably to Push at $ 599 (assuming you missed out on Ableton’s recent holiday sale).

It’s lighter and more compact. The Launchpad frankly surprised me with its durability in the market, but I think that’s partly to do with its durability in people’s bags. It’s stupidly light and compact and you can toss it around without giving it a second thought. (I know monome users who kept their treasured wooden instrument safely at home in the studio and abused a Launchpad on the road instead.) The Launchpad Pro adds some bulk, but not much – and that beautiful metal case Ableton uses on Push means it’s also a bit more to shoulder in your carry-on.

But there are some less-obvious reasons, too.

The workflow is shallower, but also simpler. If you liked the original Launchpad, you’ll find the Launchpad Pro’s quick-access buttons familiar. But there’s more to it than that. Every time Ableton went fancier with Push, Novation went simpler. That means Push is deeper, but it also means the Launchpad Pro promises to be quicker – at least in some cases.

For instance, whereas Push’s drum modes split the grid into a step sequencer and triggers, Launchpad Pro just assumes what you really want is an 8×8 drum grid – nothing else. So, there’s less paging around for sounds, and less task switching to remember how the step sequencer works.

There’s also one-button access to volume – no switching to a mixing mode required, that is. Now, it’s not terribly precise: you tap buttons to adjust volume, since the Launchpad Pro lacks faders or encoders. But Novation (and others) can sell you a fader box; what you get here is quick access. In fact, the best way to describe the approach of the Launchpad Pro is flatness.

There are still modes – Session (for clip triggering and so on), Note (for playing instruments), Device (for effects), and the normal User mode. But by doing less, the Launchpad Pro also gives you less to learn.

novationback

It works with your MIDI gear and other software, without any effort. Now, this is the interesting one. Sure, Ableton Push is a class-compliant device and uses bi-directional MIDI to communicate. But it isn’t really set up to work with anything but Ableton Live. (The only exceptions so far have been elaborate templates created for other tools, like Bitwig Studio.) The Launchpad Pro, by contrast, is perfectly happy to work as a simple, pressure- and velocity-sensitive note controller with other software instruments.

It operates in standalone mode and with hardware. In a bigger departure, there are actual MIDI ports (via jack adapters) – that’s something missing on even the monome. So, the Launchpad Pro is an actual MIDI grid controller. (You can use an included power adapter.)

Finally, we get a grid controller that doesn’t require a PC around. The monome recently proved it could work in host mode with modulars, but being able to do this over MIDI DIN with no other hardware is an obvious edge.

Up until this last point, I didn’t really feel I needed a Launchpad Pro to review – but this changes it, so stay tuned.

I’m not necessarily endorsing the Launchpad Pro. There are still loads of reasons to get Push. Push is a beautifully built piece of hardware with a deep workflow. The display, the encoders, the ribbon controller – those are all things you might miss on the Novation, even if it is cheaper. Also, we have to see what Ableton does to follow up Push. (Push 2? Shove? Uh… whatever?) Please, Ableton – think about MIDI ports. Seriously. Especially with more gear adding minijacks.

But the Novation Launchpad Pro, while it might seem at first like a “poor man’s Push,” deserves a second look for its superior operation away from Ableton Live. I’ll see when I can get one from Novation and hook it up to some gear.

http://novationmusic.com/midi-controllers-digital-dj/launchpad-pro#spec

The post How Does Novation’s Launchpad Pro Stack Up Against Ableton Push? appeared first on Create Digital Music.


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OSCiLLOT is a $99 Virtual Modular Rig for Ableton Live – No Cables Needed

Thursday, January 29th, 2015

modular

The renaissance in modular synthesis has sent a strong message. Open-ended sound design, made by connecting sonic capabilities, can inspire musicians’ imagination.

Now, part of the joy of racks of modular gear is the chance to feel these connections in your hand – plugging cables, turning knobs. But that doesn’t mean that the required hardware is always the most convenient or accessible way to work. Why not have the same sorts of powers in your laptop, too? And why not work in an environment that is itself already modular? And why not choose between using just software or connecting your software to hardware?

If you’ve ever asked those questions, OSCiLLOT might be for you. From the lovely Max development house Max for Cats, OSCiLLOT is a toybox full of useful sound-making modules.

This isn’t a faux hardware modular – think of it more like a toolset of Ableton-ish soundmakers (from drum machines to convolution reverbs to synths) that build on their digital construction – but that you can use in the sorts of ways you might use hardware.

Running software alone has some benefits. You only need a hundred bucks, assuming you’ve got Live Suite (Max for Live is required). You don’t run out of cables. You don’t run out of space.

But this software will also play with hardware if you’ve got it. With compatible audio interfaces, you can route signal in and out of your computer to analog modular hardware, too, taking advantage of all the Eurorack goodness we saw at NAMM. (CDM has a round-up to make sense of all that coming soon, by the way – we figured you already had seen the news, but could use a handy field guide that brings it together.)

There’s a lot in this package:
Oscillators
Filters
Mixers
Modulators
Amplifiers
Sequencers

OSCiLLOT_screenshot3

With those, you can build, say the makers, “FM, additive, or subtractive synthesizers, as well as filters, convolution reverbs, mixers, frequency shifters, sequencers, drum machines, and compressors” – and more from there.

There are already some pre-patched instruments and effects. You can use them as presets, or start tearing them apart to hack them into your own creations – a nice way to learn.

And in case you forget this is software, there’s also six-voice polyphony, patch annotation and saving, and the ability to neaten up or hide the display of patch cords.

Oh, yeah, one more thing – don’t forget, this is Max/MSP. So you aren’t limited to these modules. There’s an “SDK” that lets you build your own modules in Max.

All in all, this offers an interesting rival to running something like Native Instruments’ Reaktor inside Live. Reaktor has its own library of pre-built, higher-level modules – which, in turn, you can combine and re-patch and so on. Now, what’s unique in OSCiLLOT is that you can re-patch on the fly, modular style, and easily add in hardware. I can certainly see a place for each (or for more traditional Max patching and the like), really dependent on your workflow and aims.

This deserves a review. Guess I know what’s on my desk for February.

To add hardware, you need a non-DC coupled audio interface. (Hmmm… time to do a new listing of which interfaces work.)

http://www.ableton.com/en/packs/oscillot/

http://maxforcats.com

OSCiLLOT_screenshot2

OSCiLLOT_screenshot1b

The post OSCiLLOT is a $ 99 Virtual Modular Rig for Ableton Live – No Cables Needed appeared first on Create Digital Music.


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Home Alone Remixed Live on Ableton, Launchpad; Mega APC Mashup

Thursday, December 25th, 2014

Home Alone (Ableton Live Remix) from Keenan Gaynor on Vimeo.

It’s the holidays, a time for family, and to ponder when controller mappings meet one-shot clip triggering, cable TV, weird child neglect, and brutal violence against slapstick criminals. Yes, of course – it’s the time-honored tradition of Ableton Live and Home Alone.

There’s the 2010 original remix on Launchpad. But, unlike the Home Alone movie, the sequel’s even better. Last year, Keenan Gaynor quietly updated the remix on a Novation Launchpad Mini. And clearly he’s picked up some better techniques in Live. (Pro mode, anyway!) So, even though the original will have a special place in our nerdy Ableton-using holiday hearts, catch the refresh, too.

All of the music. All of the magic.

Just go easy on the Pepsi.

More:
twitter.com/keenangaynor
declanswell.com
keenan.gaynor.org

Bonus video: if Home Alone just isn’t enough holiday for you, Rich Lane does a mega-mash-up live on APC40, nicely butchering the goose of some of the most over-played tunes. Perfect if your guests have had too much Pepsi and you need to clear them out.

“Look what cha did, ya little jerk!”

The post Home Alone Remixed Live on Ableton, Launchpad; Mega APC Mashup appeared first on Create Digital Music.


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