Ableton has opened registration for their Loop creative summit, to be held in Berlin from April 24 to 26, 2020. Loop is three days of performances, talks, and interactive workshops aimed at exchanging ideas at the cutting edge of music, technology, and creative practice. Bringing together artists, technologists, educators, and other creative thinkers, Loop is a collective exploration of what it is to make music today and what it could be tomorrow.… Read More Registration Opens For Ableton Loop 2020
Today, Ableton announced the dates and location of the next Loop conference. The three-day summit is returning to Berlin, April 24-26, 2020. The event, described by organizers as ‘A Summit for Music Makers’, is three days of talks, performances and hands-on workshops that revolve around the sharing of ideas about music, technology and creative practice.… Read More Ableton Loop Returns To Berlin In Spring 2020
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.
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:
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.)
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.
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.
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:
(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.
The post Datalooper lets you play Ableton Live with your feet appeared first on CDM Create Digital Music.
Don’t have a ticket to Ableton’s Loop “summit for music makers” in Los Angeles? There’s an overabundance of music and conversation from the gathered artists streaming, much of it live, available now.
It’s easy to imagine Loop as turning into something really focused on the particular software and hardware products from Ableton, but the people programming the event have made it something very different. Loop’s programming itself extends through a range of artistic and technological frontiers, many of them only tangentially related to Live or Push – everything from AI to electronic instrument engineering to sonifying data from space. Most of that does require a ticket – which means you need to be in Los Angeles right now, and tickets were in short supply. (Even for ticket holders, capacities are constrained as workshops and seminars often take place in small quarters.)
What you can get access to is a couple of the mainstage talks, and a whole bunch of the music culture around Loop. That says a lot about the kind of artists Ableton has befriended, and the sort of hub Los Angeles can be for musicians. So Dublab Radio are broadcasting, for instance – and they’ve made Loop their home.
We’ll be talking to artists, too, in our own way – stay tuned for that. But meanwhile, part of what I get is that there’s a ton of music to experience. It’s not just one genre, and it’s also not just about the people Loop programmers thought were important. If music production tools are driven by an urge to create and share, then it’s little wonder that the participants here have self-organized their own collaborative playlist to share what they’re doing.
So let’s listen. Here’s your guide:
Loop has their live streaming schedule online, with events starting mainly 2PM (5PM NYC, 11PM Berlin) daily, earlier on Saturday:
Timing on the West Coast of the USA tends to run a little late even in the Americas, and winds up at weird hours for Europe/Africa and the Eastern Hemisphere. But here you go — think afternoon – early evening LA time Friday and Saturday and afternoon Sunday. That means evening east coast USA, early morning Japan, and … Europe you might want to wait for the archive unless you’re a night owl.
Highlights for me include Sunday – Damien Licht has been doing some great productions and has a new album, and shesaid.so, Naomi Mitchell & Coco Solid should be terrific as they’re bringing in loads of new and diverse music interests and community activation. Plus Dennis DeSantis, Laura Escudé, Patrice Rushen, Photay talking Saturday about what happens when plans go awry – well, that’s relevant to all of us, and this is an utterly amazing selection of different life experiences professionally. We all talk about the Instagram-friendly perfect side of our creative lives, and very rarely about the failures – even if adjusting to failures is usually where the good stuff happens.
Plus there are live performances in the evening if you can catch them.
Music you can tune in any time, though, via Spotify.
What’s great is the chance for participants to share with one another:
And Dublab would love to welcome you to LA’s extraordinarily dynamic scene:
For more sounds – including the lineup at Loop and a guide to why the venue EastWest Studios has put out music you already know and love:
And if you are at Loop, see you here:
The post Conversations and an overflow of music, streaming from Ableton Loop appeared first on CDM Create Digital Music.
Ableton has confirmed more artists and events for the Ableton Loop music-maker summit, set for Nov 9-11, 2018 in Los Angeles.… Read More Ableton Adds Artists To Loop LA Lineup
Ableton has offered a first look at some of the artists coming to this year’s Loop summit for music-makers in Los Angeles.… Read More Ableton Reveals First Peek at Loop Los Angeles Artist Lineup
We talked with Craig Schuftan, the program lead for Loop 2018, who gave us a preview of what to expect at the first Ableton Loop Summit in the Western Hemisphere.… Read More Ableton Loop Is Coming To The US For The First Time – Here’s What To Expect
Ableton has opened registration for its fourth Loop event. Loop is Ableton’s annual conference for music makers, a three-day summit featuring talks, performances, hands-on workshops and studio sessions focused on sharing ideas on music, technology and creative practice. Loop 2018 will explore, in-depth, the wide range of solutions for computer-based performance, creative collaboration, and how… Read More Registration For Ableton Loop 2018 Opens Today
At Ableton Loop 2017, sound design rockstar Francis Preve presented a session on The Secret of Sound Design.… Read More The Secret of Sound Design
To master sound design, no technology can top your own hearing. That’s the message from Francis Preve, who gave a gripping talk at Ableton Loop. Now we’ve got video – and more discussion. Nothing is sacred – not even the vaunted TB-303 filter.
It’s really easy to fall into the trap of trying to define specialization in the narrowest terms possible, chasing worth in whatever trend is generating it at the moment. But part of why I’ve been glad to know Fran over the years is, he has knowledge and experience that is deep and far-reaching, and that he adapts that ability to a range work. That is, if ever you worry about how to live off your love of music and machines, Fran is a great model: he’s built a skill set that can shift to new opportunities when times change.
So, essentially what he can do is understand sound, technology, and music, put them together, and apply that to diverse results. He’s quietly been a big part of sound design for clients from Dave Smith to KORG to Ableton. He teaches, and keeps up a huge workload of writing and editing. He’s run a label, been a producer, and made hit remixes. And now he has his own unique sound design products, Symplesound and his Scapes series, which act as a calling card for his ability to produce sounds and articulate their significance.
Francis isn’t shy about sharing his thought process. But as with his presets, that means you can learn that thinking method and then apply it to your own work. And that’s how we started at Ableton Loop, beginning with some listening.
Maybe most poetic: finding the same joy in teaching as you do in gardening.
About the 303…
There are a bunch of mini TED talk-style inspirational moments in there, but maybe the most quotable came in Francis’ take on resonance – and the TB-303.
— Ableton (@Ableton) November 11, 2017
But wait a minute – even if you love the 303, it’s worth listening to Francis’ analysis of why it sits at the edge between success and failure. (And actually, part of why I like the TB-303 personally is because I don’t feel obligated by anyone else that I have to like it.) Fran re-watched our talk and chose to elaborate for CDM:
To further explain my point, Nate Harrison’s Bassline Baseline is a wonderful historical analysis the whole 303 phenomena and why it was initially unsuccessful.
That said, I feel quite differently about the TB-03 and expressed this in my 2016 review for Electronic Musician. For starters, it expands greatly on the original’s synthesis parameters—adding distortion, delay, and reverb—which vastly broadens its tonal palette. These effects were also essential components of the “acid house” sound, as most 303 owners relied on them to beef up its thin, resonant flavor. The TB-03 also addressed the original 303’s absolutely opaque approach to sequencing, which resolves my other issue with the first unit (and the music it produced).
So, while I generally dislike the sound of envelope modulated resonant lowpass filters, I wanted to clarify my statements on the 303 and specifically the TB-03. It’s common knowledge that I’m a diehard Roland user and frankly, the TR-8S and System-8 are cornerstones of my current rig (as well as an original SH-101), but after 35 years, I still can’t find a way to enjoy the original 303.
https://www.emusician.com/gear/review-roland-tb-03-and-tr-09Francis’ TB-03, TR-09 review for EM
Here’s actually where Francis and I agree – and I’ve taken some flak for saying I thought the TB-03 improves on the original. But that little Boutique often finds its way into my luggage when I’m playing live for this very reason, and I know I’m not alone. (And I do like the original 303 and acid house and acid techno – and I love cilantro, too, as it happens!)
Get more of Fran’s brain (and sounds)
Francis has a regular masterclass series for Electronic Musician. Of particular interest: delve deep into Ableton’s new Wavetable in Live 10 and the latest Propellerhead Reason instruments, the phenomenal Europa and Grain.
And meanwhile, he’s continuing to teach sound design to college students including making Scapes part of the curriculum – which is timely, thanks to growing demand in augmented and virtual reality.
Since 2016, Francis has added sounds to:
– Ableton Live 10
– Korg Prologue
– Dave Smith REV2
– Korg Gadget
– Korg iMonoPoly
– Propellerhead Reason
– Xfer preset packs
– Various Symplesound products
(Other clients over the years: Propellerhead, Roland, iZotope)
And this year, so far:
DSI Prophet X
AAS Solids Chromaphone 2 Pack (arriving next week – rather keen for this one; physical modeling in Chromaphone is great!)
System-8 and Roland Cloud Synthwave pack (with Carma Studios)
Xfer Serum Toolkit Vol 3 (summer release)
Major multi-platform Symplesound release
More Scapes based on field recordings (Fran is roaming with a camper van now) – he says he’s “cracked the code for recreating fire in Ableton”
Live 10 (literally hundreds of presets, mostly Operator and quite a few wavetables)
Korg Prologue, Gadget, and iMonoPoly
Dave Smith REV2
Xfer Serum Toolkit Vol 2 expansion pack -https://www.xferrecords.com/preset_packs/serum_toolkit_2
Scapes – https://www.francispreve.com/scapes/ (or your piece)
But the big hit is perhaps the one we debuted here on CDM:
Stay tuned for whatever’s next.
The post Listening, the secret of sound design: Francis Preve at Loop appeared first on CDM Create Digital Music.