Datalooper lets you play Ableton Live with your feet

It’s a looper, it’s a Session View controller. It’s USB powered, and you play it with your feet. But unlike other options, Datalooper integrates directly with how you work in Ableton Live – and it doesn’t require Max for Live to operate. Here’s a first look – and an exclusive discount.

http://www.datalooperpedal.com/cdmspecial

Ableton may have called their event “Loop,” but that doesn’t mean there’s an obvious way to control the software’s looping capability via hardware out of the box. And that’s essential – Ableton Push is great, but it doesn’t fit a lot of instrumental and vocal uses. It’s too complicated, and involves too much hand-eye coordination – stuff you want to focus elsewhere. I’m not sure what Ableton would have called their own foot hardware – Ableton Tap? Ableton Toes? But instead, users have been stepping up … sorry, unintentional pun … and giving Live the kind of immediacy you’d expect of a looper pedal.

Demand seems higher than ever – there were two projects floating around Ableton Loop in LA last week. I covered State of the Loop already:

Ableton Live Looping gets its own custom controller

That project focused mainly on the Looper instrument and the use of scenes, all via Max for Live. It also seems well suited to running a lot of loopers at once.

Datalooper – the work of musician/creator Vince Cimo – is a similar project, but finds its own niche. First off, Max for Live isn’t required, meaning any edition of Live will work. (It uses a standard Live Control Script to communicate with Live.)

We got hands-on with Datalooper at Ableton Loop this year.

Datalooper will use the Looper device if you want. In that mode, it’s basically a controller for the Looper instrument – and supports up to three at once by default (which will be enough for most people anyway).

But there’s not much difference between the Looper device and other plug-ins or dedicated looping tools. “Natively” looping in Live still logically involves Session View. Before Ableton had a Looper, the company would advise customers to just record into clips in the Session View. That’s all fine and well, except that users of hardware pedals were accustomed to being able to set a tempo with the length of their initial recording, so the loop kept time with them instead of having to adjust to an arbitrary metronome.

Datalooper does both. You can use Session View, taking advantage of all those clips and arrangement tools and track routing and effects chains. But you can also use the looper to set the tempo. As the developers describe it:

If you long press on the clear button, the metronome will turn off, and the tempo will re-calculate based on the next loop you record, so you can fluidly move between pieces without having to listen to a click track. Throughout this process, the transport never stops, meaning you can linearly record your whole set and capture every loop and overdub in pristine quality.

Datalooper is also a handy foot-powered control system for working with clips in general. So even if you weren’t necessarily in the market for a looper or looper pedal, you might want Datalooper in your studio just to facilitate working quickly with clips.

(And of course, this also makes it an ideal companion to Ableton Push … or Maschine with a Live template, or an APC, or a Launchpad, or whatever.)

Session Control mode lets you hop in and record quickly to wherever you wish. I imagine this will be great for improvisation not only solo but when you invite a friend to play with you.

For users that are more familiar with the clip system, the Datalooper also features a ‘session control’ mode, built to allow users to quickly record clips. In this mode, the Datalooper script will link up with a track, then ‘auto-scan’ and latch on to the first unused clip slot. You can then use the first the buttons in a row to control the recording, deletion and playback of the clip. Best of all, when you want to record another clip, you can simply press record again and the script will find you another unused clip slot. This is a game-changer if you’re trying to quickly record ideas and want your hands free.

Videos:

You get all of this in a nice, metal box – die-cast aluminum, weighing 3 lbs (1.4 kg), micro USB bus-powered standard MIDI device. The onboard LEDs light to show you status and feedback from the metronome.

By default, it uses three loopers, but all the behaviors are customizable. In fact, when you want to dive into customization, there’s drag-and-drop customization of commands.

A graphical controller editor lets you customize how the Datalooper works. This could be the future of all custom control.

US$199 is the target price, or $179 early bird (while supplies last). It’s now on Indiegogo; creator Vince Cimo needs enough supporters to be able to pull the trigger on a $10k manufacturing run or it wont’ happen.

Vince has offered CDM readers a special discount. Head here for another $20 off the already discounted price:

http://www.datalooperpedal.com/cdmspecial

(No promotional fee paid for that – he just asked if we wanted a discount, and I said sure!)

Having gotten hands on with this thing and seen how the integration and configuration works … I want one. I didn’t even know I wanted a pedal. I think it could well make Live use far more improvisatory. And the fact that we have two projects approaching this from different angles I think is great. I hope both find enough support to get manufactured – so if you want to see them, do spread the word to other musicians who might want them.

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Ableton Live Looping gets its own custom controller

A crowd-funded custom controller has just arrived on the scene, designed to assist live triggering and looping in Ableton Live. And there’s already a free download for Max for Live to get you started, even without the hardware.

Hardware like Ableton’s Push lets you play Live with your fingers – but what about your feet? (Ableton Sole?) And what about looping? Pierre-Antoine Grison, Ableton Certified Trainer and producer/musician signed to Ed Banger Records, has come up with his own solution – just in time to show it this weekend at Ableton’s aptly-titled Loop “summit for music makers.” “State Of The Loop” is a custom MIDI controller for Ableton Live’s built-in Looper device.

The Looper in Ableton Live has been around for a few versions, after loads of requests from users. It delivered the kind of looping workflows you’d expect form a looping pedal. But that doesn’t mean everyone knows how to use it, or use it effectively. There are some nice resources online, including:

Ableton Looper Cheat Sheet (Free Download) [Beat Lab Academy]

Ableton Live Devices – How To Use Live Looper [Loopmasters.com articles]

and a ton of tips here:
http://looping.me.uk/category/ableton/

The stomp-style hardware controls not only the Looper device itself but also scenes. So it works for both controlling entire sets and for pedal-style looping, and you can use multiple (software) loopers so you can layer using different on-screen devices.

Features:

Display and control the state of Live’s Looper
Unlimited number of loopers !
2 Expression Pedal inputs with “dynamic mapping”
Scenes Mode to launch Scenes and display their color and name
Sturdy metal case
100% Made in France
USB or MIDI connection for longer distances (up to 15m/50ft)
USB powered
Very light on the CPU
Easy configuration
Weight : 1.7 kg / 3 lb
WxLxH : 30 x 13 x 6 cm / 12 x 5 x 2.5 inches

There’s even a free download that adds some features Ableton Live forgot – the equivalent of follow actions for scenes, plus a heads-up display so you can see what’s happening without hunching over your computer screen. (Seriously, Ableton, those belong as standard features in Live!)

You can use that download as long as you have a compatible version of Live and Max for Live; no hardware needed.

http://kblivesolutions.com/wp-content/uploads/2018/11/Scene-Launcher.zip

Dig this custom version too:

Pricing starts at 240EUR for an “early bird” price, 260EUR after that. (There’s also a 350EUR limited edition still available as I write this).

Project info on Kickstarter:

http://kck.st/2SH5gJE

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Free Snare Designer for Ableton Live, Logic, and Kontakt

If you’re obsessive about snares, this free download is for you. If you totally haven’t been thinking about snares at all, and want to let someone else obsess about it for you, this download is also for you. Meet Snare Designer.

Sound and sample house Puremagnetik has been doing sound design right back to the early days of Ableton Live. Now you get a couple hundred megabytes of acoustic snares to mess around with, whether you’re in Live, Logic, or Kontakt. You’ll need Live 10 or the full version of Kontakt 5 or Logic 10.4 to use the tailored versions, though if you’re willing to put in a little more work, you can also work with the raw samples directly.

With the full versions, you get some clever features that make this more usable. In Live and Kontakt, you can select direct, overhead, room, and “trashcan” mics via a graphical UI. Logic uses Track Stacks for those different microphones.

And you get some nicely chosen drums: the 60s Ludwig Acrolite, Mapex Birch, and Pork Pie Squealer. I don’t know anything about drums and even I know those.

Give up your email address (opt in, natch) for the download:
https://puremagnetik.com/products/free-snare-drum-pack-ableton-live-kontakt-logic

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Novation’s SL MkIII has it all: sequencer, CV, MIDI, software control

One upon a time, there was a Novation keyboard called the ReMOTE SL. That’s as in “remote control” of software. Times have changed, and you’ve got a bunch of gear to connect – and you may want your keyboard to work standalone, too. So meet the SL MkIII.

The additional features are significant enough that Novation is dropping the “remote” from the name. Now it’s just SL, whatever those letters are meant to stand for.

The story here is, you get a full-featured, eight-track sequencer – so you no longer have to depend on a computer for that function. And Novation promise some higher-spec features like expanded dynamic range (via higher scan rate). With lots of keyboards out there, the sequencer is really the lead. Circuit just paid off for keyboardists. Novation gets to merge their experience with Launchpad, with Circuit, with Web connectivity, and with analog and digital gear.

Features:

  • The 8-track, polyphonic sequencer is both a step and live sequencer, it records automation, and you can edit right from the keyboard.
  • Arpeggiator onboard, too.
  • USB, MIDI in, MIDI out, second MIDI thru/out
  • Clock/transport controls for MIDI and analog, which also run standalone – route that to whatever you like.
  • Three pedal inputs
  • Eight faders and eight knobs, handy for mixing (there’s DAW support for all major DAWs, plus dedicated Logic and Reason integration)
  • Color LCDs
  • RGB everything: yep, over the keys, but also color-coded RGB on the pitch and mod wheel as track indicators. (I’m waiting for someone to release a monochromatic controller. You know it’s coming … back.)
  • Those RGB pads are not just velocity sensitive, but even have polyphonic aftertouch (more like higher-end dedicated pad controllers)
  • Cloud backup/restore of templates and sessions – a feature we saw unveiled on Novation’s Circuit

And of course there’s more mapping options with their InControl software and Mackie HUI support.

(Some notes from the specs: you do need separate 12V power, so you can’t use USB power. I don’t have weight notes yet, either.)

Novation must know a lot of their customer base use Ableton Live, as they’re quick to show off how their integation works and why those screens are handy.

Here it is in action:

We also see some cues from Native Instruments’ keyboards – the light guide indicators above the keys are copied directly, and while the pads and triggers are all Launchpad in character, we finally get a Novation keyboard with encoders and graphic displays. Unlike NI, this keyboard is still useful when the computer is shut off, though.

And wait – we’ve heard this before. It was called the AKAI Pro MAX25 and MAX49 – step sequencer built in (with faders and pads), plus MIDI, plus CV, plus remote control surface features. You just had to learn to like touch strips for the faders, and that garish racecar red. That AKAI is still worth a look as a used buy, though the hardware here is in a more standard layout / control complement, and a few years later, you get additional features.

The big rival to the Novation is probably Arturia’s KeyLab MKII. It also strikes a balance between studio hub and controller keyboard, and it comes from another maker who now produces analog synths, too. But the Novation has a step sequencer; Arturia makes step sequencers but left it out of their flagship controller keyboard.

Oh yeah, and if you just wanted an integrated controller keyboard for your DAW, Nektar have you covered, or of course you can opt for the Native Instruments-focused Komplete Kontrol. Each of those offerings also got revisions lately, so I’m guessing … a lot of people are buying keyboards.

But right now, Novation just jumped out to the front of the pack – this keyboard appears to tick all the boxes for hardware and software. And I’ll bet a lot of people are glad to do some sequencing without diving into the computer. (Even alongside a computer for tracking, that’s often useful.)

£539.99 49 keys; £629.99 61. (Both share the same layout.)

https://novationmusic.com/keys/sl-mkiii

What keyboard strikes your fantasy at the moment? What do you want a keyboard to do for you? Let us know in comments.

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Control all of Ableton from iOS, Android, Windows: touchAble Pro

Ableton Live: lug along hardware, or … be forced to use a mouse or touchpad. No more: touchAble Pro continues to unlock more and more of Live’s functionality, and now it’s available across touch platforms – iOS, Android, Windows.

That last bit in itself is already news. iPad owners have had plenty of great stuff, but … what if you’ve got an Android phone instead of an iPhone? Or a Microsoft Surface? Or what if you want controls to jam on a big touchscreen display – in the studio, for instance?

It’s possible to target all three of those platforms; the fact many developers haven’t tells you they haven’t yet figured out the business case. But with Ableton Live a massive platform, numbering millions of active users, and use cases that focus on making things happen, uh, “live,” the touchAble devs could have a winner.

And whichever platform you choose, there’s simply no way to put this much control of Ableton Live at your fingertips, with this much visual feedback. We covered this release in full earlier:

touchAble Pro for Ableton Live: touch control on iOS, Android, Windows

But here’s a recap of why it’s cool, whether you’re a returning user or new to the platform:

Piano Roll editing (top), and custom Devices (bottom).

New:

  • Audio clip view with waveforms, including side-by-side waveforms
  • Piano roll view for pattern editing
  • Draw and edit automation
  • Track I/O
  • Custom layouts with Template Editor
  • Custom Device templates (even with third-party plug-ins and Max for Live, via an In-App Purchase coming soon)

And this matters. Now you can quickly whip up a custom template that shows you just what you need to see for a live performance – without squinting (it’s all scalable). Add in side-by-side waveforms to that, and you could twist Live into a DJ tool – or certainly a more flexible live performance tool, especially if you’ve got other instruments or vocals to focus on.

Plus a lot of other good stuff:

Transport, metronome, cues, and quantization
Clips and scenes and control looping
Arm, mute, and solo tracks
Adjust monitoring
Mix, pan, crossfade, and control sends and returns
Play instruments with grid or piano-style layouts, with scales, note repeat, aftertouch, and velocity (based on finger position)
Control device parameters, using faders or assignable X/Y pad modules
X/Y Pad: assign physics, make and morph snapshots or record full gestures,
Navigate Live’s Browser, and drag and drop Devices or Samples to the set

Enlarge stuff – like this clip overview – and make the custom layout you need.

Side by side waveforms, and a bunch of clip options. Oh yeah.

Touch on Windows isn’t just about devices like Surface – it’s also big touch-equipped displays, so ideal for studio work.

Three new videos are out now to walk you through how it’s all working.

More:
http://www.touch-able.com

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touchAble Pro Touch Controller For Ableton Live Now Available

touchAble Pro has been ‘reimagined and recoded from the ground up’…… Read More touchAble Pro Touch Controller For Ableton Live Now Available

Free pack of sounds from the Polish Radio Experimental Studio

Think of it as the BBC Radiophonic Workshop of the east: the Polish Radio Experimental Studio produced unparalleled electronic sounds and inventions for decades. Recognition of those accomplishments is growing – and now Ableton are collaborating to produce a free pack of sounds and tell the PRES story.

Vital stats on this project:

Who’s behind this: Poland’s national cultural institution Instytut Adama Mickiewicza (IAM) commissioned the library from Ableton and contributors.

Where do the sounds come from: Works made at the studio by composers Krzysztof Knittel, Elżbieta Sikora, and Ryszard Szeremeta, 1970s-80s, comprise the original sound material.

Who built the pack: Project coordinator Michal Mendyk worked with Ableton Certified Trainer Marcin Staniszewski.

What’s in there: 300 sounds, loops, and effects organized into Drum Racks, plus custom Effect Racks, all pre-mapped with macros (making them easy to use with Push or other controllers)

Check out the pack and a full article on the studio and its history at Ableton’s site (plus more on Marcin Staniszewski and his music):

Sounds from the Polish Radio Experimental Studio

Lots more links there, but the history to me is the most compelling. Paralleling the hot-and-cold relationships of experimental sound and music technology in East Germany and the Soviet Union in the same period, there was a precarious relationship of electronic sound to the government in Communist Poland. Michal Mendyk tells the story of studio founder Józef Patkowski to Ableton:

Paradoxically, a couple of years earlier, it was Sokorski who introduced social realism and radical political and aesthetical censorship in Polish art and culture. He was famous for having said about Witold Lutosławski, one of the leaders of Polish music vanguard that “he should be thrown under a tram”. So, in 1957 the same guy was responsible for creating the most experimental music centre in the whole Eastern Europe! He later said that Polish Radio Experimental Studio was his way to redeem his previous sins. This is one of many example of how paradoxical cultural and intellectual life in an authoritarian system can be.

Here’s a great documentary on the studio:

And for an imaginative take on the studio’s work, see our previous story:

The retro-futuristic Apparatum draws from Polish electronic music history

Plus more on the ongoing legacy in Poland:

This 1971 Dancing Rectangle from Poland Predicts Modern Techno, AV

Live techno after Polish punk and communism: Dyktando of Brutaż

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Max 8: Multichannel, mappable, faster patching is here

Max 8 is released today, as the latest version of the audiovisual development environment brings new tools, faster performance, multichannel patching, MIDI learn, and more.

Max is now 30 years old, with a direct lineage to the beginning of visual programming for musicians – creating your own custom tools by connecting virtual cables on-screen instead of typing in code. Since then, its developers have incorporated additional facilities for other code languages (like JavaScript), different data types, real-time visuals (3D and video), and integrated support inside Ableton Live (with Max for Live). Max 8 actually hits all of those different points with improvements. Here’s what’s new:

MC multichannel patching.

It’s always been possible to do multichannel patching – and therefore support multichannel audio (as with spatial sound) – in Max and Pure Data. But Max’s new MC approach makes this far easier and more powerful.

  • Any sound object can be made into multiples, just by typing mc. in front of the object name.
  • A single patch cord can incorporate any number of channels.
  • You can edit multiple objects all at once.

So, yes, this is about multichannel audio output and spatial audio. But it’s also about way more than that – and it addresses one of the most significant limitations of the Max/Pd patching paradigm.

Polyphony? MC.

Synthesis approaches with loads of oscillators (like granular synthesis or complex additive synthesis)? MC.

MPE assignments (from controllers like the Linnstrument and ROLI Seaboard)? MC.

MC means the ability to use a small number of objects and cords to do a lot – from spatial sound to mass polyphony to anything else that involves multiples.

It’s just a much easier way to work with a lot of stuff at once. That was present in open code environment SuperCollider, for instance, if you were willing to put in some time learning SC’s code language. But it was never terribly easy in Max. (Pure Data, your move!)

MIDI mapping

Mappings lets you MIDI learn from controllers, keyboards, and whatnot, just by selecting a control, and moving your controller.

Computer keyboard mappings work the same way.

The whole implementation looks very much borrowed from Ableton Live, down to the list of mappings for keyboard and MIDI. It’s slightly disappointing they didn’t cover OSC messages with the same interface, though, given this is Max.

It’s faster

Max 8 has various performance optimizations, says Cycling ’74. But in particular, look for 2x (Mac) – 20x (Windows) faster launch times, 4x faster patching loading, and performance enhancements in the UI, Jitter, physics, and objects like coll.

Also, Max 8’s Vizzie library of video modules is now OpenGL-accelerated, which additionally means you can mix and match with Jitter OpenGL patching. (No word yet on what that means for OpenGL deprecation by Apple.)

Node.JS

This is I suspect a pretty big deal for a lot of Max patchers who moonlight in some JavaScript coding. NodeJS support lets you run Node applications from inside a patch – for extending what Max can do, running servers, connecting to the outside world, and whatnot.

There’s full NPM support, which is to say all the ability to share code via that package manager is now available inside Max.

Patching works better, and other stuff that will make you say “finally”

Actually, this may be the bit that a lot of long-time Max users find most exciting, even despite the banner features.

Patching is now significantly enhanced. You can patch and unpatch objects just by dragging them in and out of patch cords, instead of doing this in multiple steps. Group dragging and whatnot finally works the way it should, without accidentally selecting other objects. And you get real “probing” of data flowing through patch cords by hovering over the cords.

There’s also finally an “Operate While Unlocked” option so you can use controls without constantly locking and unlocking patches.

There’s also a refreshed console, color themes, and a search sidebar for quickly bringing up help.

Plus there’s external editor support (coll, JavaScript, etc.). You can use “waypoints” to print stuff to the console.

And additionally, essential:

High definition and multitouch support on Windows
UI support for the latest Mac OS
Plug-in scanning

And of course a ton of new improvements for Max objects and Jitter.

What about Max for Live?

Okay, Ableton and Cycling ’74 did talk about “lockstep” releases of Max and Max for Live. But… what’s happening is not what lockstep usually means. Maybe it’s better to say that the releases of the two will be better coordinated.

Max 8 today is ahead of the Max for Live that ships with Ableton Live. But we know Max for Live incorporated elements of Max 8, even before its release.

For their part, Cycling ’74 today say that “in the coming months, Max 8 will become the basis of Max for Live.”

Based on past conversations, that means that as much functionality as possibly can be practically delivered in Max for Live will be there. And with all these Max 8 improvements, that’s good news. I’ll try to get more clarity on this as information becomes available.

Max 8 now…

Ther’s a 30-day free trial. Upgrades are US$149; full version is US$399, plus subscription and academic discount options.

Full details on the new release are neatly laid out on Cycling’s website today:

https://cycling74.com/products/max-features?utm_source=press&utm_campaign=max8-release

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Cycling ’74 Releases Max 8

Today, Cycling ’74 released version 8 of its Max interactive programming environment. The new version combines innovations and refinements with significant performance improvements. Max 8 enables the user to experience “a whole new level” of sonic exploration with the introduction of MC, adds optimizations and improvements for better performance, simplifies MIDI and keyboard control of… Read More Cycling ’74 Releases Max 8

Avirodh Sharma + Kone Kone – Tablaism (Tabla Controllerism)

This short video profiles a project by Avirodh Sharma and Kone Kone that blends the traditional use of table and Ableton Push.… Read More Avirodh Sharma + Kone Kone – Tablaism (Tabla Controllerism)