The update lets you use the SSP as a multichannel USB audio/cv/trigger/gate interface, supporting up to 24 I/O channels (with 16 physical inputs and 8 physical outputs), at up to 192khz sample rate.… Read More SSP Eurorack Module Update Adds 24-Channel Audio I/O & More
Isotonik Studios has announced CrossFire, a control surface script for the AKAI Fire that turns the controller into ‘a powerful Step Sequencing, Note Playing, Drum Triggering, Session Controller’ for Ableton Live.… Read More CrossFire Turns Akai Fire Into Powerful Ableton Live Control Surface
Signal from Isotonik was already a revelation – a powerful toolkit for adding modulation to Ableton Live. But curves, step sequences, and crossfades add real motion and transformation to your music.
Darren of Isotonik Studios has been busy documenting how to use this with some no-nonsense, clear video tutorials. It’s the latest episode, adding Steps and Crossfader module, that gets really exciting:
The new module Steps alone is reason to write home. It’s capable both of the titular step-sequenced, fixed steps, but curves, as well. And while you’ll find modulation built in in tools like FL Studio, Reason, and Bitwig Studio, the implementation via Max for Live by Isotonik has some really lovely usability that stands alone.
The Crossfader is unique, too – this isn’t just a mixer for audio signals, but modulation sources, as well.
It’s worth checking the other videos, too. Episode two looked at the cult hit VST plug-in Serum, creating sound design with Signal in combination. And even with Massive X just out, this is some interesting stuff:
You’ll probably want to start at the beginning, which introduces Freeze and LFO (since I’m listing these in reverse chronological order):
You’ll notice the Chaos Culture moniker on there; this is their creation. You’ll probably want Live 10 Suite, but anything Live 9.7.5 or later, plus an active Max for Live 8.0.2 license, will work, across Mac and Windows.
It’s so deep, it suggests whole new workflows and compositional ideas, so I’ll be sure to start some music from scratch with this one. But it’s really quite well done, and a rich enough approach to modulation that developers on other environments may well want to have a look.
Signal is €88.05 – pricey for a Max for Live creation, but then possibly even bigger than any recent Live upgrade from Ableton themselves. If you have a go, let us know how it works; I’ll try to post some more impressions in August.
The post Signal adds the modulation Ableton is missing – and now does steps, crossfader appeared first on CDM Create Digital Music.
For all the app choices in music, a lot feel like plug-ins crammed onto the mobile screen. Auxy may have the essential combination of ingredients – a simple, quick UI, but now the ability to make sketches you finish in Ableton Live, and sounds you can more easily tweak.
Auxy always had an elegant, approachable UI. The tool basically strips the essential function of the familiar piano roll-style view so you can quickly sketch ideas with your fingertips.
But just being simple isn’t quite enough. Mobile apps all face the common problem of having to satisfy two very different use cases or workflows. Some people want to focus on music making right on the phone or tablet, stay away from their computers (or other gear), and yet make finished tracks. Others want the app to be a rough sketchpad for ideas they can use on the go, then finish in the more comfortable environs of their computer rig or studio. The problem is, of course, those come with different demands.
Swedish app Auxy has had two updates that address some of these cases.
First, Auxy 5.4 in April added direct export to Ableton Live projects. Cleverly, this exports both audio and MIDI, so you retain your sound designs from the app as stems, but can also use patterns to work with new sounds inside Live.
Auxy 5.4 also represents a new high water mark for Ableton’s SDK. Auxy encouraged Ableton to add features for populating the Arrangement, so that song ideas and arranging choices you make on the go are reflected when you open up your project in Live. These features will be available to other developers, too, so if you’re a dev, you can get in touch with Ableton. (And that’s important, too – the better this support works in different apps, the more useful mobile-to-Live workflows become.)
5.4 also added improved import/export for samples, imported samples that share when you share projects, and updated Ableton Link support.
Auxy 6 is a major update just released this month, focusing on giving you more control over sounds and effects. And that addresses the other thing that might have kept you from adopting Auxy in the past – the simplicity is great, but you might feel constrained by the available sounds.
Auxy launched as a kind of preset machine. That makes things simpler, but might be uninspiring if you feel like you can’t shape your own sounds. That changes with some significant features:
More effects for instrumental sounds: distortion, delay, reverb, chorus, filter, ducker, and EQ sounds everywhere – customizable, not locked to presets.
More effects for drums, too: delay, distortion, compressor, filter, EQ, and ducker are now available on drums.
Shape sound envelopes: attack, release, glide, offset. (works on drums, too)
Free grid mode: move notes and automation freely as you edit.
Browse sounds by category.
This isn’t going to sound so revolutionary, but of course that is always the challenge when trying to keep things simple – there’s a lot to think about adding even simple features.
All in all, Auxy has really evolved into one of the easiest, most elegant sketchpads for music on mobile. There’s many things it isn’t – it’s not really about live playing, it’s not a full-featured DAW (and doesn’t try to be), it’s not really an audio multitrack. But what it is, it really focuses on. And with Live export, that could prove invaluable.
Auxy regularly select favorite user tracks, which is a nice way to get a feel for what people are doing. Here are the Staff Picks for last month:
Plus one creation made in this latest release:
Check out Auxy for iOS (no Android version, sorry):
The post Music on the go – Auxy app now has tweakable sounds, Ableton export appeared first on CDM Create Digital Music.
Moog Music today shared a series of videos, demonstrating how to integrate analog synths like the Mother 32 and DFAM with Ableton Live, using Live’s new CV Tools feature.… Read More How To Use Ableton Live CV Tools To Control Analog Analog Synths
Ableton has released CV Tools – a new Pack for Live Suite or Live 10 Standard and Max for Live that lets you interface your modular or other CV-based gear with Ableton Live 10.… Read More Ableton Live CV Tools Now Available
Available for immediate download, the updates feature multiple workflow enhancements and Ableton Live Set Export functionality, making it easy to move projects from the MPC and Force ecosystems to the Ableton Live platform.… Read More MPC X, MPC Live & Force Updates Add Ableton Live Export & More
It’s one of the first challenges with any modular – you get a wild banging groove, but then… you’re stuck with it. One new video tutorial suggests a way to arrange your modular with Ableton Live and free VCV Rack software.
Live’s real-time arrangement and triggering features have always been part of its appeal – something exploited by everyone from live electronic musicians to those triggering sounds for radio and theater. Here, it’s a great way to take your cabled modular concoctions and actually turn them into a song structure or live performance. But it may not be immediately obvious to beginners how to go about it.
The inspiring VCV Rack ideas comes to the rescue here. It’s been updated for the just-release VCV Rack 1.0.
Now the audio advice here is actually soon to become outdated – Bridge will go away later this year, and you’ll be able to run Rack as a plug-in. But you can actually skip that part if you want to go another route, and just let Rack control your audio interface and send MIDI from Ableton Live.
(You could also apply this on Linux easily, with Bitwig Studio in place of Live – think I’ll try that myself, in fact.)
But the basic idea here is, run MIDI from Live to Rack, and use clips and scenes to trigger changes. There are some clever ideas about how to map control via CV and MIDI, and then the really important step is adding a physical controller, so you can get your hands on the live performance and improvise.
Note that while this example uses VCV Rack, you could apply the same ideas to any modular with MIDI input – or even mix in a partial or complete hardware set with the same rig. And watching this I also imagine some other ideas for where to go; this is by definition an open-ended process. Have a look:
Have you got another way of working? We’d love to hear about it in comments.
By the way, if you’re at SONAR this week, I’ll be giving a workshop with VCV Rack on Friday. (You need a delegate pass / pre-registration. But of course I’ll share some of how it goes here on CDM soon.)
The post Learn how to arrange your modular tracks with VCV Rack, Ableton Live appeared first on CDM Create Digital Music.
It’s an automatic glitching bass. It’s a transformative set of 128 Wavetable sounds. It’s a Max for Live chaining device. It’s all of that – it’s Leakage, the free/pay-what-you-will Ableton Live creation from Tom Cosm.
The idea is to give you ever-changing bassline sounds each time you hit a note, for colorful and glitchy results. To pull that off, you get a number of features:
- 128 custom Wavetable presets
- Max for Live device that switches sounds
- Preset switching, via chains – 128 chains, one for each sound
- 8 parameters per sound: chain, filter amount, filter attack, filter decay, “grunt” (wavetable morphing), modulation amount, modulation rate, “special alpha” (per-sound parameter)
- Set number of steps, up to 128, to determine rate of change
- “Count MIDI” sets the step size to the number of notes in the active clip
- Velocity-based switching
Tom says this is the culmination of five years of work, but he’s been waiting for Ableton Live 10.1 and the processing bandwidth of current machines to unleash this. You’ll need of course Live 10.1 with Wavetable and a Max for Live license (probably, but not limited to, Suite).
This is pay what you want, starting at $0 to download. If you do put in some money, you’ll be added to an early access list for promised future editions, with bassline, lead, and effect features.
It’s really encouraging to hear Tom talk about how well that’s worked:
“To be honest, it blew my mind how many of you made a contribution. People chipped in 1, 2 or 5 bucks… but a lot of you did! It was so much it covered my rent and bills for a month, freeing up my time so I could work on this Leakage release. I was totally blown away by the generosity, so I am going to keep rolling with this system. Even if it’s just 2 dollars, it all adds up and means I can keep pumping out new and exciting tools, without having to restrict the availability to people who have money.”
Check it out:
Leakage from Tom Cosm [Gumroad]
The post Leakage is a freaky Ableton Live bass machine, Wavetable monster, from $0 appeared first on CDM Create Digital Music.
Now, even your browser can produce elaborate, production-grade eye candy using just some Ableton Live MIDI clock. The question of how to generate visuals to go with music starts to get more and more interesting answers.
And really, why not? In that moment of inspiration, how many of us see elaborate fantastic imagery as we listen to (or dream about) music. It’s just been that past generative solutions were based on limited rules, producing overly predictable results. (That’s the infamous “screensaver” complaint.) But quietly, even non-gaming machines have been adding powerful 3D visualization – and browsers now have access to hardware acceleration for a uniform interface.
cables.gl remains in invite-only beta, though if you go request one (assuming this article doesn’t overwhelm one), you can find your way in. And for now, it’s also totally free, making this a great way to play around. (Get famous, get paid, buy licenses for this stuff – done.)
MIDI clock can run straight into the browser, so you can sync visuals easily with Ableton Live. (Ableton Link is overkill for that application, given that visuals run at framerate.) That will work with other software, hardware, modular, whatever you have, too.
For a MIDI/DJ example, here’s a tutorial for TRAKTOR PRO. Obviously this can be adapted to other tools, as well. (Maybe some day Pioneer will even decide to put MIDI clock on the CDJ. One can dream.)
They’ve been doing some beautiful work in tutorials, too, including WeaveArray and ColorArray, since I last checked in.
Check out the full project and request an invite:
By the way, note those cool visuals at the top. That’s not video – that’s cables.gl actually running in your browser right now.
Previously, our introduction:
The post How to patch 3D visuals in browser from Ableton Live, more with cables.gl appeared first on CDM Create Digital Music.