conheça um pouco do Max for Live beta e deixe seu ableton turbinado

Requirements

Max for Live requires Ableton Live 8.

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Download Max for Live beta

Other Versions

Max for Live 5.1

Commercial Ugrade/Software

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APC40 Ableton Performance Controller in action

UM PODESO CONTROLADOR MIDI

QUEM QUISER UM ENTRE NESSE SITE  – http://www.akaipro.com/apc40

Tutorial – Como criar o efeito de white noise

Por ilankriger

Tutorial – 6 dicas no Ableton Live

Esse vídeo foi criado em resposta ao vídeo: 10 simple but useful Ableton Live tips #1 do neozeolandês Tom Cosm. Cosm é especializado em criar tutoriais, disponibilizar pacotes para remix e até um Live Pa inteiro para você estudar.

Confira as peripécias do artista no seu site (que está de cada nova): http://www.cosm.co.nz/.

O vídeo original tem 10 dicas, criei uma versão em português com 5 dicas dele e mais uma extra minha. Acredito que com uma menor quantidade de dicas, você vai ter mais tempo de testar e aplicar esses conceitos , as 6 dicas são:

* Como ressetar um parâmetro;
* Como mover as notas do piano roll uma oitava acima ou abaixo;
* Como desenhar automações livremente;
* Como mover apenas algumas notas do piano roll;
* Como mudar a divisão do grid;
* Como aumentar e diminuir o tamanho de um loop (dica extra).

Você já usava alguma dessas ferramentas?

Por ilankriger

Website – www.musicproducerpro.net

Every day I hear somebody tell me they want to start a career in the music industry, they want produce musiclike what comes on ‘MTV’. They ask me questions about how the sounds are made, do you think they are using real instruments and loads more. They are really interested and all I can do is tell them the real deal.

If you want to become the next big producer like who you listen to, you need to get your music productionknowledge up. You need to find someone who knows everything about what you want to do and beyond, someone who knows where your coming from. They could be someone your age or older, they are going to be a mentor to you, almost like a manager how allows you to go on making music the way you want to and allows you to make your own mistakes. You need someone who can show you what music production software you need such as Logic Pro, Fruity Loops, Audacity and more. The hardware is just as important too to get real sounds, MPC’s, Mixers, Microphones, Amps & Audio interfaces are all very important things when you are producing music.

Are you sure you want to become a music producerbecause these things are available for you and if you are willing to work hard you have a good chance in succeeding in the music industry. But first you need to get your knowledge up and start studying today from home in your free time. There is a website that teaches you everything about music production and has everything you need to know and more. Everything about the music studio, it will teach you about mastering, dynamics, mixing and compressing all of your own songs. Finishing and mastering other peoples songs and you could make it big doing that. (Sound Engineers get paid!)

But as I have already said, get your knowledge up as much as you can. There are so many people everyday saying ‘they want to produce music’ and never do!

Good luck and get your knowledge up.

For more information - http://www.musicproducerpro.net

DMaX modules for the Martin Mac250 and Mac500 are currently in development. These are much more of a challenge than the modules produced so far due to their DMX specification being fairly complex, with multiple functions available on each channel. Initial coding should be done in a day or two and they will be hardware tested next week. Once these are confirmed to work, development on other moving head fixtures will be much faster as most of the groundwork will have been done already.

I’m a big fan of Robert Hencke. If you don’t know the name, you might maybe know him as Monolake. The guy is an excellent electronic music producer. His music is often described with the words: spacious, complex, minimalistic, techno, dub, ambient. He’s an active developer of Ableton Live and collaborates with Cycling 74 to integrate MAX for Live. I find his work and approach towards music creation very inspirational. I never have used MAX, but hearing how he talks about it and the sonic possibilities it seems to offer I’m surely willing to give it a try.

Check out the complete interview here

Version 0.2 of DMaX will be released soon. Improvements include:

• Compatibility with uDMX and LanBox over IP.
• Viewing window in hub now only shows channels being used by fixture modules.
• Hub now constantly outputs a full DMX universe and sets all channels unused by fixtures to 0.
• Bugfix – Fixture modules now pass MIDI data through correctly.

If you own or have access to a uDMX or LanBox system, then please contact me as I need some testers for these systems.

Another video I’m afraid. I found this one while looking at the Max for Live video I posted about the other day BUT it really is worth a watch. Unlike the other Monodeck videos I’ve seen, this one is just Robert driving it. It’s great to actually see and hear it properly!

One of the things I noticed when looking at the Monodeck section of Robert’s website is that he’s specifically mentioned that it’s not for sale. At first I thought “Bummer! Now I can’t get one!!!”. Of course about a year later we see the Akai APC40 and now the Novation Launchpad. They’re not a Monodeck but they bare a striking resemblance. Was Robert just trying to keep his setup unique or was this all part of the Ableton master plan? Hmmm… I wonder.

I don’t think we should simply discard these controllers as toys for the DJs either. Dennis DeSantis did a great video for the APC40 showing how it can be useful for anyone using Live. Having the transport controls and mixer faders/sends separated from the mouse… I’m starting to drool already!

1. 또 이러네. 워드프레스, 유튜브는 임베드 되는데 비메오는 안 되다니. 일단 링크. : Max For Live Sneak Peak

2. Ableton에서 직접 올린 베타판 관련 동영상은 유튜브에는 없는 것 같다. 이런 저런 사람들이 시연 동영상을 올려 놨는데, 실시간으로 패칭하는 영상이 대부분인 것 같다. 이해는 가는데, 실시간 패칭만을 할 거라면 맥스 포 라이브가 아니라 그냥 맥스로 해도 되는 거란 느낌이라 별로 의미를 못 느끼겠다. 그리고 나는 맥스를 방대한 기능의 이펙터로 다루기 보다는 하나의 창작 환경이라고 생각하고 싶은 마음이 더 크기 때문에.

3. 로고가 마음에 안 든다. -ㅅ=

4. 가격정책도 마음에 안 든다. Live 8을 가진 사람은 Max 5를 가진 사람보다 훨씬 싼 가격에 살 수 있다니. 맥스 무시하나연. (맥스를 샀기 때문에 이러는 게 아님.; ) 라이브 8 보유자는 단돈 99불, 맥스 보유자는 450~700불을 내야 맥스 포 라이브를 산다는 건데, 흠. 나 자신에게의 효용성에 약간 미심쩍은 부분이 있는 상태에서 매력적인 가격은 전혀 아니다.

5. 시퀀싱과 맥스를 연결하는 것이라면, Soundflower나 ReWire로도 가능하다. 조금 불편이야 하겠지만, 내가 원래 라이브를 쓰던 사람이면 모르겠으되, 그런 것도 아니고. 2에서도 말했듯 패칭만을 원한다면 맥스와 라이브를 합쳐야 할 이유는 딱히 없다고 생각한다.

6. 실시간(live) 환경에서 맥스를 함께 활용한다고 할 때 가장 큰 메리트가 되는 것은, (미리 설계한) 맥스 패치들이 라이브(Live)와 연동되면서 라이브 전체의 컨트롤을 받을 때가 아닐까 한다. 조금 단순하게 얘기하자면, 라이브 위에 올려둔 여러 개의 음원과 여러 개의 패치/파라메터들을 라이브에서 큐를 넣고 컨트롤하는 것이 의미가 있는 게 아닐까. 즉, 라이브가 순수한 호스트가 되거나 음원이 되는 형태. 맥스가 이펙터가 되는 형태가 아니고.

7. 그 외의 중요한 의미라면, 맥스가 VST가 된다는 것이다. 이건 혼자 만들어 혼자 쓰는 형태보다는 배포가 가능해진다는 것이다. 기존에는 플럭오를 통해 정말로 VST가 되어서 어떤 플랫폼에서든 사용할 수 있었지만, 이젠 플럭오 지원도 중단했지. 이건 충분히 반발이 클 만한 부분 같은데 어떤지 잘 모르겠다. 리와이어 사용이 편해진데다가 맥스 라이브러리만 무료로 설치하면 패치는 돌아가니까 괜찮은 걸까?

반면 맥스 포 라이브는 라이브러리 배포가 없다고 들었기 때문에, 개발자들에게는 치명적일 것이다. 즉, 맥스 포 라이브에서 만든 패치는 반드시 맥스 포 라이브를 보유해야 돌릴 수 있다는 것이니까. 즉 “리와이어+맥스 라이브러리 있으면 됐지 뭐”라는, 플럭오 없는 기존 맥스보다, 더 폐쇄적으로 됐다는 얘기. 맥스가 4.x에서 5로 넘어오면서 하위호환성을 완벽하게 무시했는데도 다들 받아들이는 걸 보고 용기를 얻은 걸까. (그건 맥스5가 워낙 예뻐졌으니까 그렇지! 외모지상주의) 뭐, 맥스가 오픈소스인 것도 아니고, 퓨어데이터와는 확실히 길을 달리 하는 게 자명하지만… 머리로는 이해하지만 마음으로는 밉다, 뭐 그런 기분?

8. 맥스 전체의 라이브러리가 통째로 포함돼 있는 것인지가 궁금하다. 맥스에서 할 수 있는 모든 것을 정말 다 할 수 있고 거기에 라이브 컨트롤 오브제들이 추가된 것인지, 하는 것. 아마 그렇겠지만. 뭐, 베타를 돌려보면 될 일이지만… 베타판 쓰는 것은 왠지 싫어. -ㅅ= 결국엔 돈을 내든지 지우든지 해야 하는 건데, 지우자니 그간 만진 것이 아깝고 그렇단 말이지. 그리고 뭔가를 자꾸 깔았다 지웠다 한다는 것 자체도 거부감이 있고. 그리고 무엇보다 라이브 8 보유자만 베타를 돌릴 수 있다고 한다. 싸울래연?!

9. 지난 주였나, 수요일이란 요일만 기억나는데, 이르캄에서 맥스 포 라이브 행사가 있다고 들었었다. 시연하고 토론회 하는 뭐 그런 거였던 것 같은데. 갔으면 뭔가 기념품이라도 주지 않았을까. (…) 라이브는 늘 디자인이 예쁘니까 기념품도 예뻤을 것 같은데. (…) 그게 중요한 게 아니라.; 여튼 맥스 포 라이브의 출시 자체는 제법 중요한 순간인 것 같기도 하고, 시연 동영상만 보는 것보다 직접 보고 싶은 마음도 들었지만. 괜히 정신만 없이 지내다가 정신 차리고 보니 지나갔더라. (실은 오늘인 것 아냐?!)

Here’s a great vid I found via @AbletonTweets on twitter. Robert Henke (aka Monolake) talks about Max for Ableton Live. If you use Ableton then I recommended you check this vid out.

I’m seeing the benefits of Max for Live but I’m still having trouble working out how it would make any improvements to my production process. My needs tend to revolve around the Ableton Operator synth and sample packs for Dimension Pro and Ableton Sampler. Perhaps it will become more clear as the product matures and people make more specific Max instruments. Have definitely got my eye on it tho.

I find that most of my best and most cohesive work comes from tracks that come together really quickly. Most of my compositions that take long periods of time end up sounding stale (as I’ve listened to them for far longer) and uninspired. For this reason, I find having a quick workflow is essential to have an unobstructed path for getting from point A to point Song.

For years I used a combination of Reason 2.5 and Cubase to write songs. I know many complain about the “Reason Sound”, but I assure you, having released an entire album using Reason nearly exclusively (I mixed down in Cubase), that if you toss the preset synth patches and the sample library, you have quite the capable set of tools at your disposal.

Reason was a great common platform for Jason (my then music partner) and I, it was a common set of tools and swapping file ideas was super simple. Having worked with Reason as long as we did, we were able to quickly bang out ideas and keep things flowing. This was essential to the way we worked, if we got stuck on an idea or a track, we simply saved it, closed the session, and started another.

When Ableton Live came about Jason and I both jumped at its promise of making our computers “live performance instruments”. Ableton only handled audio in the first versions, so we weren’t writing music with it, but were bouncing loops and one shot samples from out Reason sessions to perform and mash up live. This was FUN (compared to loading hardware samplers full of time compressed loops writing sequences etc). We had a great platform for composing (Cubase/Reason) and an excellent application for performing those compositions (Ableton) in a dynamic and more improvisational manner.

After many revisions and additions to the application, Ableton Live began moving away from strictly a performance based application and more of a full on Digital Audio Workstation, adding MIDI support, VST instrument support, more routing features.

At this point, I write all of my music in Ableton Live, and for one reason, workflow. I know the key commands, I know how to quickly get around it and everything just feels like its in the right place. Ableton has also included many MIDI and audio tools that allow for quick compositions. I still go back to Reason 4 for synthesis and sound design from time to time, any application that allows for modular functionality is OK in my book ,but alas, i digress.

Recently I wrote this track, composing it took less than 6 hours, start to finish (usually a song from start to finish takes days). Normally I struggle with melodic content, as its difficult for me making technology driven music sometimes to “switch gears” and go from left brain programmer mode to right brain creative composition mode. So i kept working in left brain mode, and used a series of Midi effects and probabilities to generate the melodic content for this track.

First off, I programmed the percussion by hand, midi editors and clip envelope tricks; nothing fancy there, just elbow (er, wrist?) grease and a little time and effort. For composing the melodic content though, I took a different route.

All 3 of the melodic elements in this track are all FM synthesis based (I used Ableton’s excellent FM synth Operator), one is a Bass part, one harmony part (the blippy thing that has a lot of movement) and a track of chime-y sounding chords that fill in some space. The melodies came from plugging in single notes (E3 in this case, but any will do) into clips and allowing Ableton’s Midi tools to do the rest of the work.

(this is where it gets interesting)

For my “Lead” and “Bass” tracks I have used a midi rack i put together from some of the Midi Effects patches in the Ableton’s User Library. I first created a blank “Midi Effects Rack”. The first plugin in the chain I used was “Random” so each time a note is triggered, a random note is spit out. I then followed “Random” by an instance of “Scale” so that those random notes get shifted to the nearest note in a specific scale (i chose C# pentatonic scale, I’ve always liked the way it sounds). If you are following along, your Midi Effects Rack should look like this:

For the rhythmic content of the melodies I created several midi clips per track, each having different note values, some were quarters, some eigths, some sixteenth notes, and some containing patterns made all 3 note values. I then copied and pasted all of the clips to additional free cells, so I have twice the clips to choose from. With the copied clips I went in and used the clip tempo multipliers making some double time and some half time adding to the options of midi note patterns on a given track.

At this point i could go about writing in the session view by clicking various midi clips and allow them to loop, selecting others and doing the same but that is going to get boring pretty quickly (especially if you are as scattered as I am) So lets get these clips moving!

I utilized Ableton’s “Follow Actions” to create movement and automation amongst these midi clips, creating a constantly changing and ever moving stream of midi notes. Follow Actions in Ableton allow one to designate an action to take place after a specific duration based on the parameters that are set. For example, if you know that when you click a midi clip that when it ends you want Ableton to launch another and you don’t have a free hand to do it in realtime, Ableton has your back!

Note the middle, “Launch” section. Under The Follow Action section of “Launch” you have a value. This is going to tell Ableton how long you would like this clip to play before it performs an action. My example is set at 0:1:0 The far left box indicates measures, the second quarter notes, and the third sixteenth notes. So having my Follow Action duration set to 0:1:0 means that after a quarter note it is going to perform an action.

In this case I have 2 actions selected with a probability. there is a one to two chance that this follow action is going to trigger any other clip (the asterisk icon) on this track and a two to one chance that it is going to re-launch the same clip (the “play” triangle icon).

It can be time consuming (an rewarding), but for each of the midi clips I created, I made changes to the duration and to the action that is to take place. Each clip gets its own Follow Action parameters and set of probabilities. What you end up with is what I like to call a little bit of “Organized Chaos”

Feel free to explore using Follow Actions in creative ways, I’ve been able to create great “Glitch” effects using several copies of the same drum beat, some Follow Actions and Clip Envelopes (which I will get into in a later post). Its nearly endless what can be done with the tools Ableton gives you!

In the meantime, here is an Ambient composition i made using the same methods. I rewired the midi out of Ableton to trigger synths and samplers in Reason 4, but the same concept applies!

Enjoy a little Organized Chaos of your own!

Nawet jeśli Ableton był by jeszcze prostszy w obsłudze i tak wielu osobom może wydać się zbyt trudny. Kiedyś w wolnej chwili obejrzałem wszystkie tutoriale jakie można znaleźć na jutubie i wiem jedno – 3/4 to strara czasu. Dlatego jako wo’selektor polecam poniższe klipy wszystkim tym którze myślą o szybkim starcie.

Wszystkie pochądzą z oficjalnego kanału Live’a link here, jednak ponieważ jest ich tam ponad siedemdziesiąt, mój wybór może okazać się przydatny

A quick post to tell about my new project DMaX. This is a system to allow DMX control using Ableton Live and Max for Live. I’ve created a new section on the blog to host information about this project, http://prodavid.wordpress.com/dmax/. The initial release is very basic, with only two DMX devices supported, but more will soon be added.

Loaded a bunch of new sounds into the laptop, including some instrument loops that I recorded in the apartment in Vienna, as well as in a cabin up in the mountains outside of town… The hills are indeed alive with the sounds of music samples! Importing them into live sounds cooler than cool!

A few weeks back I was asked about doing a remix for Brim Liski, a project that my buddy Justin (Cacheflowe) was collaborating on with a gentleman named Ryan (from A Shoreline Dream) and some other shadowy characters whose identities have still been un-announced.

Having really enjoyed the original track I said, “Sure” and they sent me the mix stems. I put together a somewhat typical (for me) remix, I made the ambience bigger added delay, reverb and grainular processing, I programmed new percussion rendered it, made lots of edits, rendered again, put the vocals further back into the mix, and MADE THE AMBIENCE BIGGER.

It was well received and they decided to put it on the album.

Well, it was released to the world 11/10/09! Hooray!

search “Brim Liski” @ Amazon.com and/or Itunes for the full release.

my remix can be streamed right here!

Superstar scratch DJ Jazzy Jeff is a name that we all know, whether from his DJ career or from his top-notch acting skills in the seminal TV series ‘The Fresh Prince’. A guy which at first you may think would be a traditional turntablist sticking to vinyl and not one to embrace technology, however this is definitely not the case as this short video shows. Jazzy Jeff demonstrates his reasons for a switch to using the softwear Ableton Live and also the benefits to his DJ’ing and production work that have come as a result from going digital.

Just got a new controller from Novation called the Launchpad. Check out the video… This should be a blast in performance. With a long USB cable, I can walk out into the crowd and jam! Found out that I can use it in combination with my MIDI guitar. Technology… Yeah, baby!

Acessem nosso novo site

www.cursoonlive.com.br

This month we celebrate the 1st Birthday of Digital Republic and to mark the occasion I’ve recorded a special studio set of unreleased material all performed live in Ableton Live.

1. Part 1 (Frozen Lakes)
2. Part 2
3. Part 3
4. Part 4
5. Part 5 (Parhelia)
6. Part 6 (Out of the system)
7. Part 7
8. Part 8

Download

Currently in the lab, working on my own project.  It’ll be a EP (highly doubt an LP) in the vain of a mixtape style.  I already got a few emcees in mind, and I’ll contact those who fit the style I’m creating.  Keep a lookout on the Untitled EP from Sha’ul.

For now check out some of my previous collection on www.shaulmusic.com.

Peace,

Sha’ul

Alright peps, heres a little mix from the robot cave, of loops tracks, efx and samples… mangled through the magic of Ableton Live

I’ve got delivery of my launchpad now! watch this space!

This is my new ableton live DJ setup:

Ableton Live DJ Setup

8 Tracks total broken down as follows:

Track 8: Turntable B
Track 7: Turntable A
Track 6: set up to grab loops in real time from 7 or 8 (see “Loop Grab” below)
Track 5: open, prob for beat loops
Tracks 1-4: “Crates”
Send A: Ping Pong
Send B: Open
Send C: Routes all incoming audio to Deck A
Send D: Routes all incoming audio to Deck B

Tracks 1-6: output to Sends Only
Buttons assigned for each of 1-6, such that it toggles – one push turns up send C to 127 and send D to 0 (zero), a second push flips this. The result: any clip on any of the first six tracks can be routed to Turntable A/B (tracks 7 or 8).

Clip Preparation

I take each clip and put it through Mixed in Key, renaming the file as
Key – BPM – Track Name

Next, each track is broken down into parts – with different start points and sometimes even loops. This enables me to jump around from section to section of songs.

Here’s the trick:

I use Track 2 as a copy of Track 1, and Track 4 as a copy of Track 3. Why?

Well, if I route 1 to Deck A and 2 to Deck B, then I can jump around in a song arrangement by triggering different sections, and then cross-fading between the channels.

Loop Grab

I use Bome’s midi translator for a few things, such as the send toggle on tracks 1-6. I also use it to convert a button push into a series of key strokes. One button on my controller routes audio from Turntable A into track 6 and arm it for record. Another button turns off the routing to track 6 and puts it back into play mode. Similarly, a button routes audio from Turntable B into track 6 and arms it. Again, another button disables this.

The routing occurs by sending Turntable A/B into Send E, and Send E is setup to route to Channel 6.

The key here is muting channel 6 during recording b/c if you don’t, it will create a feedback loop!

This technique allows me to grab various parts of whatever is playing, do it in real time, and work it back into the mix. Now I am just playing with this, though I’m not entirely committed to it… Given how every track is cut up, I can already trigger parts of songs… so I’m not sure if I’ll use this feature, but we’ll see!

Bome’s midi translator

At some point I’ll be posting a video of how the rig is set up w/the APC40. While I recently picked it up, and have enjoyed figuring it out, I am very much looking forward to max4 live (I have no max experience at all) — I suspect it will be a lot more powerful, and run native, with respect to modifying the APC setup.

Posting the set, Follow me on Twitter

If you have any questions, hit me up.

At some point I’ll also post the ableton setup w/bomes w/the video… can’t promise when, given life’s busy but I hope to do it soon. In the meantime, follow me on twitter @loopscious.

Later.