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Here’s How To Connect the iPad’s Easiest Pattern Maker to Your Mac [Video Tutorial]

Saturday, March 7th, 2015


Remember the days of clicking laboriously to add notes to a piano roll editor? Well, that’s a bit silly nowadays if there’s a touchscreen sitting next to your desk. You probably want to make use of it — and maybe without stumbling around helper apps and wifi configuration.

We’ve already seen how Auxy, the iPad pattern editor, reduced a widely-known music process to its simplest elements. The recent addition of MIDI opens it up to external hardware.

But it also makes a nice example of what the new utility midimux can do: connecting this app to the wealth of sounds and production tools on your computer can make for a useful pair.

The first ingredient is midimux, which alongside the forthcoming audio companion audiomux, can link up apps and hardware on your iPad or iPhone to apps and hardware on your Mac, all the sync cable you already own:

Now, Across iOS and Mac, Everything is Musically Connected [Video]

Fab from ANR (audio news room) has already illustrated a specific example. He takes Auxy, the pattern editor, and then augments its sonic capabilities by adding in Apple’s own Logic Pro. And he’s made some nice video tutorials that make it all clearer. First, on the iPad:

Next, on the Mac side of things:

More sound samples:

One big caveat. I don’t mind paying for MIDI in Auxy — I bought that the day it came out. But there’s no sync support yet; I hope the In App Purchases support development of that. (You do want to implement it right, and it isn’t easy on iOS — trust me, have this conversation with developers all the time.)

Then again, this is just one example. Apple already makes controller tools for Logic in its own iOS Logic Remote app, but when you think of cool instruments like Sculpture, I can imagine a lot of other interesting sources to use. And we’re looking forward to the ModStep sequencer — which does, by the way, support sync. (You’ll see what I did there: subtle hints to the developers of ModStep. We’re really looking forward. Just … hugely excited. On our seat with anticipation. La, la, just can’t wait. Finish and submit that thing, darnit.)

Thanks to ANR for this one — good enough that it was, ahem, worth ripping off directly!

How-To: Auxy Meets Logic Via midimux – Video Tutorial

And more great reading there; just added this one to my feed in Reeder!


The post Here’s How To Connect the iPad’s Easiest Pattern Maker to Your Mac [Video Tutorial] appeared first on Create Digital Music.


Auxy Meets Logic Via midimux – Video Tutorial

Thursday, March 5th, 2015

Auxy is a cool and still young iPad app that generated lots of interest since its release. A mix between a design challenge (inspired by the ‘less is more’ principle) and traditional piano-roll beat-making that is going to grow in the next months.
So far, Auxy’s sound options are limited to a few presets, but what if you want to use your powerful DAW sounds instead?
Now there’s a new solution (way more reliable than WiFi or Bluetooth shaky connections), midimux, an iPad app (+ Mac server software) that talks MIDI to your Mac using the standard USB to lightning or 30 pin cable. Brilliant, ah?
You may have already seen some videos of midimux integrated with a Live-based setup. These days I’ve been testing midimux with my main DAW, Logic Pro X.
I’ve tested it with several apps (Animoog, IK Multimedia apps, etc.) but here I would like to show you how Auxy can benefit from midimux, using Logic’s software instruments to replace Auxy’s original sound. It’s just a quick video (actually two), but it should do the job. Note: to use Auxy via MIDI you need to buy the MIDI add-on as In App Purchase.
The videos are silent, but you can hear the actual final tracks in the Soundcloud player below. More on midimux in the next days.
2015 is going to be an exciting year for iPad & desktop DAWs integration…


DRON-E Creates Ambiences, Cinematic Sounds – Now Free for Reaktor [Sounds, Tutorial]

Thursday, December 12th, 2013


Composition and invention are two tasks that always blur — there’s some engineering to making music, and that extends to sound design.

But let’s get real: when you come across someone like Antonio Blanca, you reach a whole other level.

Blanca does exquisite work in Reaktor ensembles and carefully-crafted Lemur templates to match. And DRON-E is a masterpiece, a Reaktor ensemble capable of generating entire universes of ambient sound. Eerie drones will transport you to feeling like you’re crawling about a distant asteroid or entered a convent that has retreated to an alien mineshaft. (I wasn’t the only person who felt that way — Killzone Shadow Fall sound designer Lewis James made heavy use of this on the PS4 game, among other composers.) It can be darkly gorgeous, or unsettlingly rich with sound. You know … Christmas-y stuff.

So here’s quite a Christmas present: you get DRON-E for free once you sign up at Twisted Tools. It’s almost worth buying Reaktor just to get this for free. If you happen already to have DRON-E, you can pick up other wonderful Twisted Tools work at a discount.

DRON-E is an OSC and MIDI-controllable, modern, rich sound world of its own.

Just expect to feel some pangs of envy at the Reaktor-patching genius here, and perhaps a little shadow of guilt switching it on. It’s that good.

I’m not trying to gush. But I am trying to think of the last time a set of Reaktor snapshots sounded like it could get an album release. It was all I could do to actually write this story and not just get lost in a dreamland drifting away to the sound samples:

When you are ready to come back to Earth (aw, do I have to?), there’s a handy video tutorial to get you started with using the free ensemble you’ve just grabbed, courtesy Brent Kallmer. (An older version of the ensemble, but still worth ten minutes.)

Full description of the ensemble:

Dron-e is a Reaktor Instrument specialised in creating ambient, generative, abstract and cinematic soundscapes and drones. Dron-e contains flexible parameters and controls for creating everything from delicate atmospheres to complex walls of sound. Included is a custom created sound bank of acoustic and synthetic instrument and field recordings designed specially for Dron-e , but you can load your own and venture into unknown sonic territories. In addition to the pre-established modulators and controls. it’s possible to use your own modulators built in Reaktor such as sequencers or break-point envelopes using the EXT option,as well as MIDI/OSC signals to further shape your sounds.

And Antonio has joined Twisted Tools. Good stuff. Go enjoy this and more:

DRON-E Free @ Twisted Tools Shop


This and the fact the old Fallout games are free and I think we should find a bunker to alternate gaming and sound design for the rest of the winter.

The post DRON-E Creates Ambiences, Cinematic Sounds — Now Free for Reaktor [Sounds, Tutorial] appeared first on Create Digital Music.


30 Days of Free Ableton Push Tutorial Videos, Now Also Downloadable

Thursday, October 24th, 2013

Ableton’s Push really is growing on me; it’s astounding to have lots of the working methods from software integrated on a piece of hardware, in pads and buttons and knobs. But because it does so much, because it’s open to so many tasks, it isn’t something that reveals itself in just a day. From mapping harmonies across the pads to understanding every last edit workflow, it takes some time.

Josh Weatherspoon took an interesting approach this summer and spent 30 days both teaching himself to better use the hardware, and sharing techniques one at a time, for free, on YouTube.

Those 30 days of videos are at top. And while we failed to share them all when they first came out, now is good timing. If you prefer to work in the studio, as I do, with the Internet disconnected, or don’t want ads or streaming, you can pay to download. The first 30 people get it for US$ 5 (promo code: “push-it”), the rest of you, for a very reasonable $ 10.

I’m sure there are other Push tutorials out there, but I do like the focus of some of these.

Scale options. Hold down shift to change the interval spacing.

Scale options. Hold down shift to change the interval spacing.

And being a theory nerd, here’s a good example: working on finger position and inversions to easily play chords. (And people kept griping to us that it wasn’t really a musical instrument. Cough.)

Check out the full playlist on YouTube

Josh has an EP out now, too:

The post 30 Days of Free Ableton Push Tutorial Videos, Now Also Downloadable appeared first on Create Digital Music.


Abuse Sampling for Sound Design: Free Tutorial, Rack in Ableton Live

Thursday, September 5th, 2013

The response to the breaking Live 9.1 news this week was fast and furious; we were honestly surprised at the vast readership of the story. A lot of you must have multiple displays or virtual desktops you want to use (or, now, even a Push).

But sometimes the best upgrade is the one you can install in your brain. Improve your technique, and an array of musical possibilities open up.

Take this terrific tutorial from DJ Vespers as an example, which involves varying very small sample slices in Ableton’s Sampler to create unique pads. It works especially nicely with Sampler’s parameters and a Rack, but if you have other samplers you like to use, something similar would work in those, too. The tutorial cautions that this isn’t true granular synthesis, but defined broadly, I’d say it is — very restricted synchronous granular synthesis. (Actually, this could be an interesting question, so greetings, Smarter Readers, discuss!) Most importantly, the sonic results are fascinating and versatile.

In this Ableton Live synthesis tutorial, Myagi shows off how to get under the hood in Sampler and make it do some tricks that are anything but obvious. Looking at repurposing the Aux Envelope, he shows how you can control sample position using a Macro Knob and make Sampler behave akin to a granular synth. The sky is the limit with this one. As an added bonus, we provide the synth preset, Instrument Rack, and Audio Effects Rack as a free Ableton Live Pack download.

There’s a download along with the video (email required).

At the bottom of this post, Vespers has a tutorial on Robert Henke’s Granulator, too. (You could use similar Max for Live, Max, Pd, and Reaktor patches, along with other granular tools.)

By the way, if you’re in Berlin, you can see me messing around with sound design and Live and Maschine in a studio session. I’ll try to post some version of that soon, perhaps with (cough) more preparation. And I’ll be talking to the lovely duo Blue Hawaii; we’ll have video and more of their music soon. From 16h in Mitte — Facebook event — or just stay tuned worldwide on CDM in the next couple of weeks.


The post Abuse Sampling for Sound Design: Free Tutorial, Rack in Ableton Live appeared first on Create Digital Music.


Melodyne Isn’t AutoTune: New Video Shows Drum Loop Dynamic Manipulation [Tutorial]

Wednesday, August 7th, 2013

Apple, Steinberg, Cakewalk, and others have begun adding audio manipulation tools to their DAW, and some of those tools are decent enough in a pinch. But there still isn’t any one application — as a plug-in or built into a DAW — that offers the amount of audio tweaking powers as Celemony’s Melodyne products. The folks who have pushed their “Direct Note Access” really have achieved an unprecedented amount of note-by-note control over sound.

These edits are commonly associated with pitch correction, and indeed, it’s clear a big part of the market for this software is being able to tune vocals. But even that use case has a lot of dimensions. Sure, you might want to fix intonation, but that involves paying attention to vibrato and dynamics.

I noticed at least one review of Logic Pro X make a reference to “AutoTune,” so let’s be clear. That’s not necessarily what this is about. Celemony sent us the most vivid illustration of that this week, with a video tutorial that shows the use of those same tools to edit a drum loop.

Comparing this to a “compressor” as the video does is a bit unfair. The compressor is the means to an end — shaping the dynamics of the drum materials. But the best way to understand this is the ability to take recorded drums (or drum machines, for that matter), and reshape them in the more open-ended digital domain. And that’s another example of why “pitch correction” or editing doesn’t mean that you’re trying to emulate T-Pain. You could just as easily use pitch adjustments on the pitched content of drums, as well.

Melodyne’s YouTube channel (and the page on their site) have a lot of tutorials like this. Of course, you’ll have to wade through a bit of marketing spin, as with any promotional videos, but I think they do a nice job of showing what the tool actually does — which can be a good way to work out if this tool is for you.

Melodyne Videos
Melodyne Tutorials @ YouTube

And yes, one of those videos points out that you really don’t need to be doing 100% pitch correction. There’s really no reason, I think, to feel bad about adjusting vocals on a computer. By the time you’re singing into a microphone, you’re having a big impact on the sound of your voice. And the experience of listening to singers live and listening to them through a recording is substantially different, to my ears. There are intonation subtleties that live wouldn’t bother me at all, that then become grating in a recording. Perhaps the feeling of listening to recorded music is akin to hearing the music we imagine inside our head. Naturally, that means that the editing process needs to be more organic and transparent — and, apart from special effects, something that doesn’t sound like pitch correction. Here’s their associated tutorial:

But, for those of us with the luxury of getting to use these tools creatively and not slaving behind desks trying to correct imperfect vocal recordings, we get to have great fun with creative ideas like messing about with vocals and drums in new ways.

You need to shell out more, progressively, to get all the features the mad scientists at Melodyne have cooked up; the Essentials package is often limited. But in the Editor and Studio products, in particular, you can get some powerful capabilities.

Here's where Celemony set themselves apart: polyphony. That's chords we're editing, not a solo line. Many can do the latter, but the former is a big deal. Screenshot: Celemony.

Here’s where Celemony set themselves apart: polyphony. That’s chords we’re editing, not a solo line. Many can do the latter, but the former is a big deal. Screenshot: Celemony.

More at the product site:

Used Melodyne in interesting ways in your music? Or used another tool (yes, including AutoTune and some of the DAW tools) and had success with that? We’d love to know more — and we’d love to hear the music you made.

The post Melodyne Isn’t AutoTune: New Video Shows Drum Loop Dynamic Manipulation [Tutorial] appeared first on Create Digital Music.


DJ Tutorial 2013 | How to Make Music with Magic Dr. Drum Software

Friday, May 17th, 2013

Dr Drum Download Link ➡ http://usdgadget.com/top-6-beat-making-software/ Dr. Drum — Best Digital Beat Making Software Make Hip Hop Beat Instrumentals, R&B, …

BeatAssist.eu updates BumBer BassDrum Sampler and releases How To Tutorial

Wednesday, May 15th, 2013

BeatAssist.eu has updated BumBer, the Bass Drum Sampler VST instrument for Windows, and released a new tutorial entitled Beat It With BumBer VST Sampler (eg How To). Bugs Fixed: Band Compressors have [Read More]

FL Studio Basics Tutorial Part 2

Sunday, May 12th, 2013

Here is part 2 to my first tutorial 😀 Part 1: https://www.youtube.com/watch?v=PCAXVw2t3FE Part 3: https://www.youtube.com/watch?v=I_KPW1_sSHw Again, if you …
Video Rating: 0 / 5

Reason 7′s New Tools for Slicing, Stretching, Retiming Audio: Q&A, Tutorial Vid

Tuesday, April 30th, 2013
It slices! It dices! No, really - it does. Finally, you don't have to leave Reason to prep samples and loops.

It slices! It dices! No, really — it does. Finally, you don’t have to leave Reason to prep samples and loops or re-time recorded sound.

Far beyond the simple sampling that first appeared in hardware, slicing, re-timing, and stretching audio keeps getting more sophisticated, manipulating recorded sound in musical ways. But a lot of the popularity of this technique traces back to Propellerhead and their ReCycle tool. By bringing together smart digital slicing with its REX file format for loops, ReCycle helped launch the looping craze in software.

REX support has always been part of Reason, since the start. But the way sound works in Reason has gradually evolved, particularly as Swedish developers Propellerhead made Reason into less of a rack of synths and more of a full production environment. Bringing integrated recording, live sampling, and time stretching into the mix, literally, meant that you might go directly from a mic into an instrument.

And that brings us to Reason 7. If you want to do your own sampling work, you probably want the ability to have everything happen inside Reason rather than rely on an external tool like ReCycle. Propellerhead certainly kept you waiting for the chance to do that, but in typical form, they’ve also got their own way of going about it.

CDM talked to Propellerhead about what they’ve done and why they think it’s worth your attention. It’s a companion to the first conversation we had with them, about the addition of MIDI; see:
When Reason Met MIDI Out: How MIDI, Virtual CV Work in the New Reason 7 [Pictures, Details]

But if the last story got their answers on what Reason 7 could do for your favorite synth or drum machine, let’s put them in the hot seat on the question of what it does for your microphone.

Why add ReCycle integration now?

It just made sense! :-)

What we’ve done in Reason isn’t exactly ReCycle though. It’s a combination of our amazing time stretch now being used for audio slicing, too, and the added ability for Reason to create REX files. We haven’t actually integrated ReCycle and Reason. We have given Reason the ability to convert audio into REX loops, but that happens completely independent of ReCycle! It’s a feature available to all Reason 7 users, natively in Reason.

The focus for the implementation in Reason is to make it fast and easy so you can quickly get a recording or imported audio file from the sequencer into Dr. Octo Rex, the NN-XT sampler or Kong drum designer and continue working creatively with it in the rack. Think of ReCycle as an “editor” and Reason as a music-making program and you get a pretty good idea of how the implementations differ.

ReCycle still remains as a standalone tool, and for those who use other programs than Reason for their music-making, create sample libraries or just want the control that ReCycle brings (like threshold for slice-creation, stretch amount, and more) it’s great for that. As an example, about half of the current ReCycle user base are not Reason users — they use ReCycle to create REX files for other programs, like Live or Logic, or Stylus RMX, or are sample library creators who will need the added control that ReCycle gives.

For most of us, though, Reason’s REX file implementation will do everything we’ll ever need, without interrupting the workflow. The automatic slicing is really accurate, and twisting your recordings into something new is a lot of fun!

What’s different about it?

The REX file creation is one puzzle piece in the improved audio handling in Reason’s sequencer! Reason 7 now instantly analyzes any recorded or imported audio, finds the transients and adds slices to it. This opens up for quantizing, stretching the individual slices, or bouncing the audio to a REX file. The slice detection is very accurate, and the slice stretching uses the same time stretch algorithms as we already have for full tracks in Reason, which we know is of extremely high quality, so you can trust that your songs will still sound great. So really, when we’re talking about stretch, there’s both the classic ReCycle type stretch of increasing the space between the slices when you’re using REX files, and our modern time stretch that actually stretches the audio.

For the user, this means that recordings or imported audio files can be worked with in a number of new creative ways. You can change the timing, change the tempo, make the recording “better” (tighter) or groovier. And then when you’re happy with it, put it in a REX player in the rack to play the slices from a keyboard, rearrange the performance live and even put effects on the individual slices in Kong.

What sorts of workflows might people use with this integrated functionality, as far as sampling, slicing, recording in different contexts?

Resampling is of course a big concept in electronic music-making today. Being able to take your resampled sounds directly into a REX player in Reason opens up a ton of new possibilities.

Recording something, instantly have it sliced and ready to throw into a REX player means you can hammer out beats and work creatively with your recordings with just a few mouse clicks.

It really is about taking down the barriers between the rack and the sequencer in Reason, and open up for more creative possibilities with audio.

Tutorial: How to get going

So, that’s the rationale, some clarification, and the marketing pitch. If you’re grabbing Reason 7, though, you’ll want to know how to get working.

Product specialist Mattias produced a tutorial video on slice markers and the newly-integrated functionality, and includes a number of useful tips:

So, what do you think? Is this something you’ll use? Are you sticking to a different tool of choice, or excited to see this in Reason? (And we’ll be keen to hear how you work with it once that Reason 7 download finishes — or if you’ve been on the beta.)