Isotonik Studios has announced a 3-band delay Max for Live device for Ableton Live by LDM Devices. Trisektor features dub style flutter effects, distortion, bitcrush, and a modulated comb filter. It allows you to create everything from subtle spatial dynamics to full on psychedelic freak out. LDM Devices are known for their clear cut design […]
The monome made history by transforming the virtual world of the computer into a low-fidelity grid of lights and buttons. But it’s no less magical today – especially in the hands of stretta.
Matthew Davidson has been an innovative developer of patches for the monome since its early days. And that’s a principle innovation of the hardware: by reducing the “screen” to a minimal on/off grid, and lighting buttons independently from your input, the monome becomes a distillation of the ideas in a particular computer patch. Just like a fretboard or the black and white keys of a grand piano, a music box roll or the notes on a staff, it’s an abstraction of the music itself. And its simplicity is part of its power – a simplicity that a mouse and a high-definition color display lack.
Matthew is using some features the first-generation monome didn’t have – the varibright lights, and a recommended 128-format grid. But otherwise, this riffs on the original idea.
And remember last week when we covered Berkelee College of Music introducing study of electronic instruments? Well, Davidson has developed a whole series of these kind of clever inventions as a set of studies in grid performance.
That is, the choice of Bach is fitting. This is classical grid from a virtuoso, a Well-Tempered Monome if you like.
Check out the full gridlab collection:
Updated: so what about other grids?
Via social media, Matthew Davidson elaborates on why this setup requires the monome – which still says a lot about the uniqueness of the monome design:
First up is 64 buttons versus 512. It’ll work on a 128 kinda, barely, but it is awkward. An implementation of a fold mode might make that useable.
Second is the protocol. The monome protocol provides the ability to update a quadrant with a simple, compact message. This is what is used to achieve the fluidity. If you want to update the entire grid of a Launchpad, you have to send 64 individual messages, one for each LED.
Lastly is the issue of MIDI devices and M4L. The monome uses serialosc to communicate. Because of this, a monome M4L device can send and receive MIDI data at the same time as sending a receiving button/led data.
[Reproduced with permission.]
Of course, if you have other DIY ideas here, we’d love to hear them!
The post Watch an Ableton Live sequence made physical on the monome grid appeared first on CDM Create Digital Music.
Plugin Boutique has announced two exclusive deals on Audiomodern products. First up is Paths II, a loop-based Kontakt sampler instrument with a focus on atmospheric pieces and underscore composition parts. Paths II is the perfect collection for crafting dramatic Electronica and Neo-ambient Cinematic styles. If you live to emote in tempos most slow, this is […]
They’re called “NRPN”‘s. It sounds like some covert military code, or your cat walked on your keyboard. But they’re a key way to control certain instruments via MIDI – and now you have a powerful way to do just that in Ableton Live, for free.
NRPN stands for “Non-Registered Parameter Number” in MIDI, which is a fancy way of saying “we have a bunch of extra MIDI messages and no earthly clue how to identify them.” But what that means in practical terms is, many of your favorite synthesizers have powerful features you’d like to control and automate and … you can’t. Ableton Live doesn’t support these messages out of the box.
It’s likely a lot of people own synths that require NRPN messages, even if they’ve never heard of them. The Dave Smith Instruments Prophet series, DSI Tetra, Novation Peak, Roger Linn Linnstrument, and Korg EMX are just a few examples. (Check your manual and you’ll see.)
Now, you could dig into Max for Live and do this by hand. But better than that is to download a powerful free tool that does the hard work for you, via a friendly interface.
Uruguay-born, Brazil based superstar artist and ultra-hacker Gustavo Bravetti has come to our rescue. This is now the second generation version of his free Max for Live device – and it’s got some serious power inside. The original version was already the first programmable NRPN generator for Live; the new edition adds MIDI learn and bidirectional communication.
It’s built in Max 8 with Live 10, so for consistency you’ll likely want to use Live 10 or later. (Max for Live is required, which is also included in Suite.)
Up to 8 NRPN messages per device
Multiple devices can be stacked
Setup parameters in NRPN or MSB/LSB [that’s “most significant” and “least significant” byte – basically, a method of packing extra data resolution into MIDI by combining two values]
Bidirectional control and visual feedback
Record automation directly from your synthesizer
MIDI Learn function for easy parameter and data size setup
Adjustable data rate and redundancy filters
Configurable MIDI Thru Filter
Easy draw and edit automation with multiple Data Sizes
The post Free Ableton Live tool lets you control even more arcane hardware appeared first on CDM Create Digital Music.
J.J. Burred has released Factorsynth, a Max for Live device that can deconstruct and reconstruct your samples in new and unique ways. Factorsynth is a new kind of musical tool. It uses machine learning techniques to decompose any input sound into a set of temporal and spectral elements. By rearranging and modifying these elements you […]
Machine Learning ist ein schönes Buzzword, also eine Modewort für die aktuelle Zeit. Aber Dinge, die damit passieren in der Musik, können interessant sein. Die Stärke von Machine Learning ist, eine Menge von Daten zu haben und daraus etwas Erstaunliches zu machen.
Wie sieht das nun im Einzelnen aus? Man lädt ein Audiofile ein, welches mehrere Elemente enthält. Diese werden einzeln als Pulse angezeigt. Beispielsweise enthält das Audiofile einen Stahlhammer, eine Hi-Hat und einen Drone-Sound und ein wenig Perkussionsgeraffel. Jetzt kann man wählen, dass beispielsweise die Hi-Hats und das Perkussionszeugs verschwinden sollen, um nur die Drone mit dem Hammer zu bekommen. Diese kann man hinter der Anzeige der „Wellenformen“ der betreffenden Instrumente auswählen und abschalten.
Factorsynth – Machine Learning in Max for Live
Dazu kommt jetzt ein zweites Audiofile. Das ist wie beim Vocoder der Trägersound. Es könnte eine Fläche sein oder ein Field-Recording. Mit dem, was verblieben ist – also hier der Hammer und die Drone – kann man das neue File in der Rhythmik der erkannten Elemente als zweiten Sound einblenden. So lassen sich Audiofiles beliebig dekonstruieren und neu zusammenstellen. Ein Traum nicht nur für Remixer. Denn so eine Software war bisher sehr sehr aufwendig und teuer. Bisher gab es nämlich nur Prosoniqs neuere „Sonic Worx – Iso“-Software, die auch einiges an Rechenleistung benötigte. Es ist also eine neue Art von Audioberechnung.
Im hinteren Teil des Videos kann man auch sehen, welche unüblicheren Dinge man machen kann, nämlich Teile von Drumloops, Field Recordings und Noises zu analysieren und auszuschalten. Sowas geht es auch mit einem simplen Gitarren-Loop. Der zweite Teil ist hingegen in der Lage, solche Gitarren oder Noises rhythmisch wieder einzufügen. Es gibt also immer einen „Herauslöschen„-Teil und einen Hinzufügen-Teil. Das Tool ist ein „Max for Live“-Element, funktioniert also primär mit Ableton Live. Der Preis ist mit 61,62 Euro sicherlich nicht zu hoch. Das Prosoniq-Tool kostete seinerzeit mehr als vierstellig.
- Mehr Information gibt es auf der Website von Isotonik Studios
Plugin Boutique has launched another Top 5 Friday round-up. In this new video, producer Tim Cant runs through five of the most popular Ableton Racks and Max for Live devices. All available at Plugin Boutique the top Ableton Racks & Max for Live are… 5. AutoBeat by K-Devices. It might look like a half a […]
Isotonik Studios has announced an update to its Smart, a Modular Series Max for Live device. Smart Five can be used to control up to 8 individual parameters at a time, with a Smart Graph for each parameter. It now integrates with Live 10 and Ableton Push 2. Smart is a Max4Live device that can […]
Composer Alessio Santini is back with more tools for Ableton Live, both intended to help you get off the grid and generate elaborate, insane rhythms.
Developer K-Devices, Santini’s music software house, literally calls this series “Out Of Grid,” or OOG for short. They’re a set of Max for Live devices with interfaces that look like the flowcharts inside a nuclear power plant, but the idea is all about making patterns.
AutoTrig: multiple tracks of shifting structures and grooves, based on transformation and probability, primarily for beat makers. Includes Push 2, outboard modular/analog support.
TATAT: input time, note, and parameter structures, output melodic (or other) patterns. Control via MIDI keyboard, and export to clips (so you can dial up settings until you find some clips you like, then populate your session with those).
And for anyone who complains that rhythms are repetitive, dull, and dumb on computers, these tools do none of that. This is about climbing into the cockpit of an advanced alien spacecraft, mashing some buttons, and then getting warped all over hyperspace, your face melting into another dimension.
Here’s the difference: those patterns are generated by an audio engine, not a note or event engine per se. So the things you’d do to shape an audio signal – sync, phase distortion – then spit out complex and (if you like) unpredictable streams of notes or percussion, translating that fuzzy audio world into the MIDI events you use elsewhere.
And that’s only if you stay in the box. If you have some analog or modular gear, you can route audio to those directly, making Ableton Live a brain for spawning musical events outside via control voltage connection. (Their free MiMu6 Max for Live device handles this, making use of the new multichannel support in Max for Live added to Live 10).
Making sense of this madness are a set of features to produce some order, like snapshots and probability switches on AutoTrig, and sliders that adjust timing and probability on TATAT. TATAT also lets you use a keyboard to set pitch, so you can use this more easily live.
If you were just sent into the wilderness with these crazy machines, you might get a bit lost. But they’ve built a pack for each so you can try out sounds. AutoTrig works with a custom Push 2 template, and TATAT works well with any MIDI controller.
AutoTrig 29€ ($34 US)
TATAT 29€ ($34 US)
Bundle AutoTrig + TATAT 39€ ($45 US)
Bundle MOOR + Twistor + AutoTrig + TATAT 69€ ($81)
They’ve presumably already worked out that this sort of thing will appeal mainly to the sorts of folks who read CDM, as they’ve made a little discount coupon for us.
The code is “koog18”
Enter that at checkout, and your pricing is reduced to 29€ ($34 US) for both AutoTrig and TATAT.
Check out their stuff on the K-Devices site:
See, the problem with this job is, I find a bunch of stuff that would require me to quit this job to use but … I will find a way to play with Monday’s sequencing haul! I know we all feel the same pain there.
Here we go in videos:
The post AutoTrig and TATAT generate rhythms for Ableton, modular gear appeared first on CDM Create Digital Music.
K-Devices has launched the new OOG Bundle, a collection of 4 “Out Of Grid” series Max for Live devices: MOOR, Twistor, AutoTrig and TATAT. The OOG devices are designed to write music and control instruments and effects in a brand new way. OOG tools offer unique features that will let you easily create incredible music […]