Plugin Boutique has launched an exclusive sale on Audiomodern, offering discounts of up to 60% off regular on its Random Chords, Groove and Riff Generator Max For Live devices and Riffer MIDI plugin. Random Chords Generator PRO is an instrument built to create midi chords from the MIDI notes received. It comes with 52 chord […]
With interfaces that look lifted from a Romulan warbird and esoteric instruments, effects, and sequencers, K-Devices have been spawning surprising outcomes in Ableton Live for some time now. ESQ is the culmination of that: a cure for preset sounds and ideas in a single device.
You likely know the problem already: all of the tools in software like Ableton Live that make it easy to quickly generate sounds and patterns also tend to do so in a way that’s … always the same. So instead of being inspiring, you can quickly feel stuck in a rut.
ESQ is a probability-based sequencer with parameters, so you adjust a few controls to generate a wide variety of possibilities – velocity, chance, and relative delay for each step. You can create polyrhythms (multiple tracks of the same length, but different steps), or different-length tracks, you can copy and paste, and there are various random functions to keep things fresh. The results are still somehow yours – maybe even more so – it’s just that you use probability and generative rules to get you to what you want when you aren’t sure how to describe what you want. Or maybe before you knew you wanted it.
Because you can trigger up to 12 notes, you can use ESQ to turn bland presets into something unexpected (like working with preset Live patches). Or you can use it as a sequencer with all those fun modular toys we’ve been talking about lately (VCV Rack, Softube Modular, Cherry Audio Voltage Modular, and so on) – because 5- and 8-step sequencers are often just dull.
There’s no sound produced by ESQ – it’s just a sequencer – but it can have a big enough impact on devices that this “audio” demo is just one instance of ESQ and one Drum Rack. Even those vanilla kits start to get more interesting.
K-Devices has been working this way for a while, but ESQ feels like a breakthrough. The generative sequence tools are uniquely complete and especially powerful for producing rhythms. You can make this sound crazy and random and IDM-y, but you can also add complexity without heading into deep space – it’s really up to you.
And they’ve cleverly made two screens – one full parameter screen that gets deep and detailed, but a compact device screen that lets you shift everything with single gestures or adjust everything as macros – ideal for live performance or for making bigger changes.
It seems like a good wildcard to keep at your disposal … for any of those moments when you’re getting stuck and boring.
K-Devices has announced a new Max For Live MIDI tool designed for the generation and advanced manipulation of patterns and beats. A new addition to the K-Devices Out of the Grid (OOG) series, ESQ is based on several sound synthesis techniques, adapted to a standard step sequencer to deliver incredible new flexibility. Each application in […]
Sonic Bloom has announced ConChord by Max for Cats, a pulse driven chord step sequencer for Ableton Live. The device features one finger transposition and allows you to create much more musical and intricate patterns on the spot. The MIDI effect offers 8 steps, which are triggered by pulses and each step can have a […]
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:
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.
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)
Very light on the CPU
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.
Isotonik Studios has announced Factormini, an introductory version of the Factorsynth Max for Live device by JJ Burred. Shareing the same decomposition engine as its bigger brother, Factormini contains the essential features for sound deconstruction. Factormini is the introductory version of Factorsynth, a powerful new type of musical tool that brings machine learning to Ableton […]
Ableton has announced the Probability Pack by Sonic Faction, a set of five innovative step sequencers and idea generators that add controlled randomization to any composition and performance process. Each sequencer has a unique way of adding subtle or extreme randomization to patterns for unpredictable outcomes. Use these sequencers to generate new ideas, create variations […]
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.
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.
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!)
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.
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.)
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.
And additionally, essential:
High definition and multitouch support on Windows
UI support for the latest Mac OS
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:
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
MGF Audio has announced that all its sample packs and multisamples are now available for only $1 AUD each. There are over 50 packs of multisamples of vintage synthesizers, including the Roland Alpha Juno, JV-1080, Juno-106 and JX3P, Korg’s Polysix and Minilogue, and the DX11 and DX21 from Yamaha. Over 25 packs of other samples […]