Velo2VolcaD is a free Max4Live device that makes the Korg Volca Drum responsive to MIDI velocity.… Read More Free Max For Live Devices Brings MIDI Velocity To Korg Volca Drum
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.
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Ableton has announced the release of CV Tools, a collection of devices that allow you to control and interact with your modular gear with Live 10 Suite. The Pack lets you generate or receive Pitch, Control, Clock and Trigger CV. Now musicians can interface their modular or other CV-based gear and Ableton Live 10 using […]
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.
Fabrizio Poce has announced the release of J74 ARPline, a flexible MIDI plugin for Max for Live / Ableton Live specialized in arpeggio creation and manipulation. At its heart it is composed of four independent lines, each one capable of the same features and independently tweak-able. A line is a programmable pattern and has its […]
The post J74 ARPline flexible arpeggiator for Ableton Live available now appeared first on rekkerd.org.
Plugin Boutique has launched an exclusive sale on the HERSE Max for Live device by K-Devices, offering over 70% off on the sound design tool designed to rearrange and process audio. Looking for an effect to inject life in your beats? A companion to work with during your guitar performances? Something to enrich your vocals, […]
The post K-Devices HERSE Max for Live audio effect on sale for 5 EUR appeared first on rekkerd.org.
Ableton has announced a sale on the recently updated Ableton Live 10, upgrades and Packs, offering a 25% discount for the next few days only. From now until Tuesday, June 11th, save 25% on all Ableton software. This offer applies to new purchases of Ableton Live 10 Suite, Standard and Intro, upgrades to Ableton Live […]
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It’s all about voltage these days. Ableton’s new CV Tools are designed for integrating with modular and semi-modular/desktop gear with CV. And they’re built in Max – meaning builders can learn from these tools and build their own.
The basic idea of CV Tools, like any software-CV integration, is to use your computer as an additional source of modulation and control. You route analog signal directly to your audio interface – you’ll need an interface that has DC coupled outputs (more about that separately). But once you do that, you can make your software and hardware rigs work together, and use your computer’s visual interface and open-ended possibilities to do still more stuff with analog gear.
This is coming on the eve of Superbooth, and certainly a lot of the audience will be people with modular racks. But nowadays, hardware with CV I/O is hardly limited to Eurorack – gear from the likes of Moog, Arturia, KORG, and others also makes sense with CV.
CV Tools aren’t the first Max for Live tools for Ableton Live – not by far. Spektro Audio makes the free CV Toolkit Mini, for instance. Its main advantage is a single, integrated interface – and a clever patch bay. There’s a more extensive version available for US$19.99.
Rival DAW Bitwig Studio, for its part, has taken an entirely different approach – you’ll get a software modular engine capable of interlinking with hardware CV wherever you like.
Ableton’s own CV Tools is news, though, in that these modules are powerful, flexible, and polished, and have a very Ableton-esque UI. They also come from a collaboration with Skinnerbox, the live performance-oriented gearheads here in Berlin, so I have no doubt they’ll be useful. (Yep, that’s them in the video.) I think there’s no reason not to grab this and Spektro and go to town.
And since these are built in Max, Max patchers may want to take a look inside – to mod or use as the basis of your own.
What you get:
CV Instrument, with complements existing Ableton devices for integrating outboard MIDI instruments and effects with your projects in Live
CV Triggers for sequencing drum modules
CV Utility for adding automation curves, add/shift/multiple signals, and other processing tools
CV Clock In and CV Clock Out for clocking Live from outboard analog gear and visa versa
CV In which connects outboard analog signal directly to modulation of parameters inside Live
CV Shaper, CV Envelope Follower, and CV LFO which gives you graphical tools for designing modulation inside Live and using it for CV control of your analog hardware
And there’s more: the Rotating Rhythm Generator, which lets you dial up polyrhythms. This one works with both MIDI and CV, so you can work with either kind of external hardware.
I got to chat with Skinnerbox, and there’s even more here than may be immediately obvious.
For one thing, you get what they tell us is “extremely accurate broad-range” auto calibration of oscillators, filters, and so on. That’s often an issue with analog equipment, especially once you start getting complex or adding polyphony (or creating polyphony by mixing your software instruments with your hardware). Here’s a quick demo:
Clocking they say is “jitter free” and “super high resolution.”
So this means you can make a monster hybrid combining your computer running Ableton Live (and all your software) with hardware, without having to have the clock be all over the place or everything out of tune. (Well, unless that’s what you’re going for!)
If you’re in Berlin, Skinnerbox will play live with the rig this Friday at Superbooth.
They sent us this quick demo of working with the calibration tools, resulting in an accurate ten-octave range (here with oscillator from Endorphin.es).
To interface with their gear, they’re using the Expert Sleepers ES8 interface in the modular. You could also use a DC-coupled audio interface, though – MOTU audio interfaces are a popular choice, since they’ve got a huge range of interfaces with DC coupling across various interface configurations.
CV Tools is listed as “coming soon,” but a beta version is available now.
What do you need to use this?
For full CV control of analog gear, you’ll want a DC-coupled audio interface. Most audio interfaces lack that feature – I’m writing an explanation of this in a separate story – but if you do have one with compatible outputs, you’ll be able to take full advantage of the features here, including tuned pitch control. MOTU have probably made more interfaces that work than anyone else. You can also look to a dedicated interface like the Expert Sleepers one Skinnerbox used in the video above.
See MOTU and Expert Sleepers, both of which Skinnerbox have tested:
MOTU also have a more technical article on testing audio interfaces if you’re handy with a voltmeter, plus specs on range on all their interfaces.
Universal Audio have already written to say they’ll be demoing DC coupling on their audio interfaces at Superbooth with Ableton’s CV Tools, so their stuff works, too. (Double-checking which models they’re using.)
But wait – just because you lack the hardware doesn’t mean you can’t use some of the functionality here with other audio interfaces. Skinnerbox remind us that any audio interface inputs will work with CV In in Pitch mode. Clock in and out will work with any device, too.
The post Ableton release free CV Tools for integrating with analog gear, made in Max appeared first on CDM Create Digital Music.
Max 8 – and by extension the latest Max for Live – offers some serious powers to build your own sonic and visual stuff. So let’s tune in some videos to learn more.
The major revolution in Max 8 – and a reason to look again at Max even if you’ve lapsed for some years – is really MC. It’s “multichannel,” so it has significance in things like multichannel speaker arrays and spatial audio. But even that doesn’t do it justice. By transforming the architecture of how Max treats multiple, well, things, you get a freedom in sketching new sonic and instrumental ideas that’s unprecedented in almost any environment. (SuperCollider’s bus and instance system is capable of some feats, for example, but it isn’t as broad or intuitive as this.)
The best way to have a look at that is via a video from Ableton Loop, where the creators of the tech talk through how it works and why it’s significant.
Description [via C74’s blog]:
In this presentation, Cycling ’74’s CEO and founder David Zicarelli and Content Specialist Tom Hall introduce us to MC – a new multi-channel audio programming system in Max 8.
MC unlocks immense sonic complexity with simple patching. David and Tom demonstrate techniques for generating rich and interesting soundscapes that they discovered during MC’s development. The video presentation touches on the psychoacoustics behind our recognition of multiple sources in an audio stream, and demonstrates how to use these insights in both musical and sound design work.
The patches aren’t all ready for download (hmm, some cleanup work being done?), but watch this space.
If that’s got you in the learning mood, there are now a number of great video tutorials up for Max 8 to get you started. (That said, I also recommend the newly expanded documentation in Max 8 for more at-your-own-pace learning, though this is nice for some feature highlights.)
dude837 has an aptly-titled “delicious” tutorial series covering both musical and visual techniques – and the dude abides, skipping directly to the coolest sound stuff and best eye candy.
Yes to all of these:
There’s a more step-by-step set of tutorials by dearjohnreed (including the basics of installation, so really hand-holding from step one):
Suffice to say that also could mean some interesting creations running inside Ableton Live.
It’s not a tutorial, but on the visual side, Vizzie is also a major breakthrough in the software:
That’s a lot of looking at screens, so let’s close out with some musical inspiration – and a reminder of why doing this learning can pay off later. Here’s Second Woman, favorite of mine, at LA’s excellent Bl__K Noise series:
The post Max TV: go inside Max 8’s wonders with these videos appeared first on CDM Create Digital Music.
Isotonik Studios has announced availability of Sempler Pro, a sample sequence manipulator by Noiss COKO designed to create complex patterns by performing simple actions. The whole device is exclusively driven by its integrated sequencer, which among other parameters allows to set a different starting point, size, pitch, level and delay amount for every single step. […]
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