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Akai APC20

Thursday, May 27th, 2010

Akai’s APC40, released last year, was the first ‘official’ Ableton Live controller, which gave it the right to carry the Ableton logo, and to offer a level of out-of-the box control that other MIDI gadgets could only dream of.

The APC40 was well-designed, well-built, and easy to use – though there was a feeling that it was somewhat chunksome for live gigs. Novation (not coincidentally, Ableton’s UK distributors) retaliated with the Launchpad, a cheaper, smaller, USB-bus powered unit which gave the bare bones of Live Session View control, with the benefit of compatibility with other music apps through the Automap software.

Now, instead of coming out with something ‘new’, Akai has adapted the APC40, virtually cutting it in half and apparently shedding some of the functionality. Enter the APC20.

Overview

Retaining the metal base and ABS plastic upper casing of the APC40, the first things you notice about the APC20 are things that are missing – like all of the buttons and knobs on the right-hand side, and the two footswitch inputs. That said, the nine faders, 40 clip buttons, scene select buttons and track buttons for activation, solo/cue and record arm remain from the 40.

In an attempt to compensate for the lost physical controls, the APC20 has a Shift button, which gives dual functions to many of the other buttons and, critically, to the eight channel faders. But the thing that’ll get existing APC40 users going is the new Note Mode button.

Now the clip launch buttons can send notes directly to slots in Live Drum Racks (the Launchpad does this too). The Note Mode button also toggles the Track Selection buttons for transport functions, MIDI Overdub and grid navigation.

he box includes Ableton Live Akai Professional APC Edition so you can start to jam immediately and the 20 is physically as close to the 40 as possible. It’s the same height and depth, and logically uses the same parts and materials. The smaller size means this is a lot easier to find room for than the APC40 in a studio or a DJ booth.

“In an attempt to compensate for the lost physical controls, the APC20 has a Shift button, which gives dual functions to many of the other buttons and to the eight channel faders.”

Some folks will be disappointed that mains power is still required, considering that Novation has managed to get the Launchpad running over USB – we’re guessing that a move over to bus powering would require a major overhaul, and that effort would have been reflected in the price.

In use

Plug the APC20 into the mains, turn it on, hook up the USB cable, launch Live, select it as a control surface in Live’s MIDI Preferences and the familiar red Session View rectangle appears. For APC40 users – because they’re so alike, it’s easy to load a Live set that you built for the 40 and use it straight away – this might make you think that you can use the 40 in the studio and the 20 as your takeout version.

(2 pages; go to page: 2)



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Akai APC20

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Step Sequencing: Launchpad + Renoise 2.5 Outshines Launchpad + Live + Max for Live

Thursday, December 17th, 2009

Novation has unveiled this week their own “free” step sequencer offering for Ableton Live. It’s some lovely work, with basic melodic pattern playback that comes alive once you add some envelopes.

It’s a cool creation — but for me, it’s massively overshadowed by a new video featuring the upcoming Renoise 2.5 beta with the same Launchpad controller.

I’ll introduce it by saying, simply… hot damn.

And what a difference you get in price. Of course, to use either, you’ll need a Launchpad, currently running around US$200. But for the Renoise solution, you need only spend an additional US$75/EUR49 for everything. For the “free” patch for Live, you’ll need Ableton Live 8 or higher plus the Max for Live add-on, which even with current sale deals will set you back US$698 (unless you own some previous software, though even then, you’re unlikely to get down to $75). Free after an investment of nearly a grand is a bit of a stretch.

Now, trackers aren’t for everyone, as with any tool, some of you own Live already, and I’m all for spending more money when you need to. So I don’t want to harp on the price issue alone, even if we are talking more than $600 (an 800%+) difference.

Instead, look at the results. Renoise’s Matrix View is simply astounding – perhaps as much so as the first time I saw the Session View in Live. Rather than being an independent patch, this is the innards of Renoise under control here. Each individual step is a pattern. It can easily retrigger notes. It can do melodic patterns, if you like, but each step can have an individual pattern, each pattern can be directly edited in your actual arrangement file using the controller. You don’t have to touch the mouse. And while fader control of additional parameters isn’t there yet, it’s coming.

Oh yeah — and it’s a video step sequencer, too. (That’s thanks to Jitter, though it’s not presently in this release because of some performance issues.)

In this case, the ingredient remains Cycling ’74’s powerful patching tool, Max/MSP. But because the standalone version of that package – unlike Max for Live – includes a free run-time, you don’t have to buy Max to use the results. Also, even Max may not be necessary in the future, as later in the year 2010, the developers of Renoise will offer MIDI control scripts, Lua scripting of the environment, and OpenSoundControl. This functionality appears to be something you’ll get with the package, not something you’ll need to spend hundreds of dollars to use. The reason Max is necessary now is simply to map the Launchpad’s someone arbitrarily-mapped bi-directional MIDI to Renoise’s eminently-controllable grid. (Jitter is, in turn, used for video output, though that could work elsewhere.) With these functions integrated directly into Renoise – something sorely lacking in Ableton Live – you’ll be able to do more, more easily. With OSC sent from a device like the monome or (hopefully soon) Livid Instruments’ Ohm line, you ought to be able to just plug in the device for direct control.

It’ll also be easier to interchange devices, whereas some of the recent Max for Live devices are tied to specific controllers.

Don’t get me wrong – these are different tools. While scripting Renoise opens up a number of terrific possibilities, it won’t do everything that Max 5 (standalone) and/or Max for Live can do. For instance, if you’re looking to build your own video sequencer, you do want a separate tool, and you may indeed want the power of being able to drop that patch creation right into Live.

The point for me is that the core program itself in Renoise is controllable here, which for certain workflows can be an edge.

Competition is good. I’m certainly inspired to work on my own step sequencer creations and trying to make them better. And Novation has lucked out here, because I expect I’ve just sold them a few more Launchpads. But sorry, Ableton – I fully expect some Renoise users to find a way to tattoo their program of choice onto the hardware, as in this mock-up. This round goes to Renoise and the ingenious work of patch creator Johann Baron Lanteigne.

Depending on your tool of choice, if you’re a Launchpad owner, go grab now – and stay tuned for more step-sequencer-on-host action. Yum.

Launchpad Step Sequencer download, on the Novation support pages. Via:

Novation Launchpad now a step sequencer

Renoise Based Audio-Video Step Sequencer [Discussion, download available now]

Previously:

Renoise 2.5: A Matrix for Everything, Modulate Everything; Full Scripting, OSC Coming

PS, Ableton, Cycling ‘74, don’t feel bad. I did get to see the step sequencer creations by Little Scale last night at our party. They’re obvious choices for Max for Live, and he’s only had the Launchpad for a few weeks.

In fact, I think the best thing that could possibly happen is for all the Launchpad, monome, Ohm, Ableton, Renoise, SuperCollider, chip music, and other fans to throw down and let the out-step-sequencing battles begin.

Go.

See the original post here:
Step Sequencing: Launchpad + Renoise 2.5 Outshines Launchpad + Live + Max for Live

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Novation Launchpad OSC Wrapper Makes MIDI More Readable

Wednesday, November 11th, 2009

A new, free software release for Novation’s Launchpad could make your device a lot more usable – and it shows how useful OSC can be for hardware, even if that isn’t OSC hardware. (Now, imagine what OSC-native hardware can do.)

There are plenty of misunderstandings about OSC and the monome out there. Among them, there’s the notion that OSC won’t work without “extra software,” or that the only reason to use OSC messages with something like Novation’s Launchpad grid controller would be to emulate a monome.

Here’s the secret: even if you still don’t know what OpenSoundControl is, the idea is to make messages readable.

Novation released the MIDI message mappings for its Launchpad — that’s a good thing! (See previous post.) But because of the utilitarian and somewhat arbitrary way in which MIDI describes devices, MIDI messages just aren’t terribly readable. For instance, one button is called 50h (in hex), or 80 (in decimal). Where’s 80? Uh…. yeah, no one knows. And simple grid devices like the Launchpad and monome illustrate just how abstract MIDI is. The Launchpad has an 8

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Vinyl + Ableton: Ms. Pinky and Max for Live Working Now

Friday, October 30th, 2009

Photo (CC) Brendan Dawes.

It’s round, it’s mechanically-resistant, it’s tangible, it supports multi-touch and gestures. Yep – it’s the turntable, and outdoing it would mean reinventing the wheel, literally. And so it is that more than a few Ableton fans have wondered how they might work vinyl into their software axe of choice.

Ableton and digital vinyl vendor Serato have announced they’re doing “something,” and then announced at the beginning of October that an announcement would be announced on January 14, 2010 at NAMM. Oh, and they said it will “unleash your creativity,” which sounds good. (It’s better than, say, “Ableton and Serato’s creative partnership will unleash two dozen angry badgers,” or “if you own Ableton Live, what we will say in 2010 is that we will unleash an unspeakable, nameless evil, known only to the ancients, which shall bring about the endtimes.”)

Here’s the surprise – you likely won’t have to wait for Serato to get integrated digital vinyl control. It’s already working with Ms. Pinky, and that means more choice, more DIY possibilities, and a broader variety of ways to integrate turntables and Live.

You see, there’s this little thing called Max for Live, which allows the use of Max patches inside Live as seamless instruments and effects. And one of the best – if least-known – vinyl control systems out there has long featured Max integration: Ms. Pinky. People have already made use of VST plug-in integration, but because Max for Live also connects to the Live API for control of Live itself, the functionality of the two can be expanded.

m4live_pinky

Via our friend Luthier.Lab, we get a first look at the Ms. Pinky plug-in. And this should be just the beginning, as Ms. Pinky and its Max/MSP support could be a great construction kit for building your own solution – something that may not be possible with Serato.

Ms.PinkyforLive [Luthier.Lab - en EspaƱol]
Google Translate (which has some very funny ideas about how to translate Spanish)
Discussion on the Ms. Pinky forum

While you ponder the possibilities, it’s time for a video from Daito Manabe demonstrating that not all turntablists sound quite the same.

pinkyinlive

Go here to read the rest:
Vinyl + Ableton: Ms. Pinky and Max for Live Working Now

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