Ableton Live: Tom Cosm does a “power run” through 10 Ableton Live tips.

Cosm’s tips cover:

1. Resetting a parameter to its default value
2. Moving everything in the piano roll up or down an octave.
3. Drawing lines freehand with the pencil tool
4. Changing the grid size intro triplets, or off completely using key commands.
5. Moving just a few notes in the piano roll, select them by holding down Shift and clicking.
6. Playing back the audio exactly where you last stopped it.
7. Duplicating a loop AND it’s automation.
8. Consolidate chopped loops into a neatly timed loop.
9. Zooming everything out to 100%
10. Using the virtual keyboard to trigger samples in the drum rack.

See Cosm’s post on this video for more details on the tips he covers here.

Open Labs has introduced SoundSlate, what they call “the ultimate virtual instrument player” and hardware DAW for your keyboard workstation or MIDI controller.

SoundSlate puts Open Labs’ music operating environment, including the virtual instrument host Riff, 8000+ of sounds and effects, a robust audio i/o, and a powerful computer core running Windows XP, into a 1U-ultra compact case.

Features:

• Professional music production for the price of a laptop.
• 24-bit/ 192kHz A/D converters (same as Pro Tools HD 192 I/O interface).
• 8000+ preset sounds and effects
• Includes Cubase LE, Sonar LE, LIVE LE and more.

Open Labs SoundSlate packages start at $1,999.

SoundSlate Technical Specifications:

CPU
Intel® Core2 Duo ® (2.8GHz)

Memory
2 GB (upgradeable to 4GB)

Storage
500 Gigabyte (upgradeable to 2TB)

Drive
Slimline CD/DVD Burner

Connection
(8) USB 2.0 ports
(1) Gigabit (10/100/1000) Ethernet port
(2) DVI Video ports (1 DVI-I, 1 DVI-D)
(1) E-SATA port

Audio
Sample Rates: 44.1, 48, 96, 192kHz from internal crystal or externally supplied clock (no sample rate conversion)
Bit Depths: 24-bit I/O, 32-bit processing
E-MU E-DSP™ 32-bit DSP with 67-bit accumulator (double precision w/ 3 headroom bits)
Hardware-accelerated, 32-channel mixing, and multi-effects processing
Zero-latency direct hardware monitoring w/effects
ASIO 2.0, WDM/MME/DirectSound Drivers
EDI (E-MU Digital Interface) proprietary 64-channel audio link over CAT-5 cable
Anti-Pop speaker protection minimizes noise during power on/off
Ultra-low jitter, clock subsystem: < 1 ns in PLL mode (44.1kHz, Opt. S/PDIF Sync)

Analog Line Inputs (2)
Type: servo-balanced, DC-coupled, low-noise input circuitry
A/D converter: AK5394A
Level (software selectable):
- Professional: +4dBu nominal, 20dBu max (balanced)
- Consumer: -10dBV nominal, 6dBV max (unbalanced)
Frequency Response (20Hz – 20kHz): +/- .05dB
Dynamic Range (1kHz, A-weighted): 120dB
Signal-to-Noise Ratio (A-weighted): 120dB
THD+N (1kHz at -1dBFS): -110dB (.0003%)
Stereo Crosstalk (1kHz at -1dBFS): < -115dB

Analog Line Outputs (2)
Type: Balanced, low-noise, 3-pole low-pass differential filter
D/A converter: CS4398
Level (software selectable):
- Professional: +4dBu nominal, 20dBu max (balanced)
- Consumer: -10dBV nominal, 6dBV max (unbalanced)
Frequency Response (20Hz – 20kHz): + 0.0/-.35dB,
Dynamic Range (1kHz, A-weighted): 120dB
Signal-to-Noise Ratio (A-weighted): 120dB
THD+N (1kHz at -1dBFS): -105dB (.0006%)
Stereo Crosstalk (1kHz at -1dBFS): < -115dB

Digital I/O
S/PDIF:
- 2 in/2 out coaxial (transformer coupled)
- 2 in/2 out optical (software switched at ADAT)
- AES/EBU or S/PDIF format (software selectable)
ADAT:
- 8 channels, 24-bit @ 44.1/48kHz
- 4 channels, 24-bit @ 96kHz (S-MUX compatible)
- 2 channels, 24-bit @ 192kHz
MIDI:
- 1 in, 1 out

Synchronization
Internal crystal sync at 44.1, 48, 96, 192kHz
External sample rate sync via
- ADAT (44.1 – 192kHz)
- S/PDIF (opt. or coax 44.1 – 96kHz)

Power Supply
250 Watt Power Supply, Whisper Quiet Cooling Fans (Internal Chassis, Processor & Power Supply)

Dimensions:
19”(W) X 12”(D) X 1U(H)

via GearJunkies

Way Out Ware’s Jim Heintz demos iSample 2 (App Store link), and makes some pretty freaky sounds along the way.

Here’s what’s new in iSample 2:

• sample trimming with pinch to zoom, two finger scrolling and scrubbing
• sample length quantization
• loop positioning/viewing screen
• mixer
• delay effect
• a reverb effect,
• step sequence pattern editor with 12 separate pattern buffers
• a song mode that allows you to build songs out of patterns
• WIFI sharing
• tempo control with tap to set tempo

iSample 2 retails for $9.99.

via wayoutware:

http://budurl.com/isamplevid

This is a straight take without video edits of an iSample 2.0 demo session by Jim Heintz. It was done using the built in sample bank called Chillbeat 86 that ships with iSample 2.0. This demo shows only a small fraction of the features new to iSample 2.0.

iSample 2.0 is available at the Apple App Store by clicking the following link: http://budurl.com/isamplevid

This is a demo video for a video theremin, created with Max For Live in Ableton Live 8. 

via akihikotube:

Max For Live (ableton & cycling’74) Video Theremin Tutorial Patch

[BLOK] is a new modular synthesizer for Windows, originally designed as a platform for teaching audio synthesis to students.

Features:

• Classic synthesizer modules such as Oscillators, Filters, Envelopes and Effects
• Easy to use interface. Blok was originally created as an educational program to teach audiodesign principles. This means that each module is simple to understand.
• Connect everything. There are no limits on connecting blocks together.. if a block generates a signal, connect it up!
• Versatile DSP engine. Additive, Subtractive and FM synthesis are all possible. Let Blok be your synthesis swiss army-knife.
• Full undo/redo. Dont like what you have done? Go back to a time when you did!
• Low in cpu. Blok was made to run well even on low-end computers. On today’s machines, it tears up the track! This will let you make more complicated setups and get more bang for your synthesis buck.

[BLOK] is currently a free download, but the developer notes “only the buzz version is officially supported at this point! the standalone and VST versions are under heavy construction, use at your own risk.”

iPhone Music Software: Check out this visual demo of PatternMusic (App Store link) a gorgeous new matrix synthesizer for the iPhone.

PatternMusic retails for $4.99. Detailed specs below.

If you’ve used PatternMusic, leave a comment and let me know what you think of it!

PatternMusic Features:

• The Stage
  • Intuitively mix and arrange your songs by moving instrument icons.
  • Effortlessly add, duplicate and delete instruments.
• Multi-Touch™ Pattern Editor
  • Easily create unique looping note patterns.
  • Editor zoom – because not everyone has the same size fingers.
  • Up to 64 notes per pattern via the scrolling timeline.
  • Scroll through a 4 octave range for each instrument.
  • Solo mode – focus on a single part of your composition.
  • Dynamics for individual notes.
• Voices
  • 50 instrument voices to choose from.
  • Change voices at any time.
  • A full drum kit and percussion set.
• Built-in Help and Tutorials
  • A complete Help system is accessible throughout the app.
  • Access built-in and on-line Video Tutorials without leaving the app.
• Instrument and Song Settings
  • Tempo (including “tap tempo” for interactive tempo matching).
  • Time Signature
  • Scales – work within a mode and avoid “wrong” notes (more than 40 scales available).
  • Note length configurable from 1/16 note triplets to dotted whole notes.
  • Looping control – infinite or counted.
  • Configurable instrument start point.
  • Swing – create shuffle effects.
  • Transpose – up or down up to two octaves (an 8 octave total range).
• Song Management
  • Auto-save – PatternMusic automatically saves your songs when you quit or when you are interrupted by a phone call, and it automatically restores your last session when you return.
  • Manage your songs including song duplicate, rename and delete.
• Play along with your iPod Music
  • iPod Music Library access and control without leaving the app.
• Small app download
  • You’ll be creating music in no time.

Ableton’s Robert Henke (Monolake) discusses Max For Live and his history with Max.

Click here to view the embedded video.

Henke is one of the original architects of Ableton Live and now acts as part of the specification team, determining the direction for the future of Live.

via cycling74com

U-He has announced ACE (Any Cable Everywhere) – a new modular software synthesizer.

Description:

The selection of modules and clear layout make ACE the ideal instrument for newcomers delving into the fascinating world of modular synthesis. The number of ways to connect modules together is practically infinite, and you will soon discover how much more fun it is to make your own sounds in ACE than in a non-modular synthesizer.

Here’s what we know so far about U-He Ace:

• ETA: early December 2009
• pricing: 69EUR (includes 19% VAT, ca. 85 USD net when bought from overseas)
• formats: VST on Windows, VST/AU/RTAS on MacOS X
• system requirements Mac: Apple Macintosh Computer running MacOS X 10.4+ on a G4 processor or newer, Intel Core 2 Duo or better recommended
• system requirements Win: VST2 compatible host software on a PC with SSE2 supporting processor, Intel Core 2 Duo or better recommended
• number of presets and such: tba

Free Windows Music Software: Asymptotic Valley has released Inorganic1, a free virtual synthesizer for Windows based on subtractive synthesis.

Features:

• 2 Oscillators, each with subtractive option
• 2 Oscillator Phase Offset Modulations
• Adjustable Oscilloscope with input selection
• State Variable Filter with ADSR Envelope
• Amplitude Envelope ADSR
• Delay Effect
• Reverb Effect
• VST/Standalone

If you give Inrganic1 a try, leave a comment and let me know what you think of it!

via rekkerd

Steven Ness is working on a version of Terry Riley’s minimalist classic In C, using Max For Live and Ableton Live 8.

In C consists of 53 musical phrases, lasting from half a beat to 32 beats that should be played in order, but can be repeated any number of times.

In this video demo, Ness explains how he’s using Max For Live to recreate the logic of In C using the capabilities of Max For Live.

Best quote: “Oh my god! Max For Live Is Going To Blow Your Mind!”

• ProToolerBlog has a large list of 27+ resources for free Kontakt sounds
• Rekkerd has over 35 sources for free Kontakt sounds

If you’ve got other suggestions, leave a comment below!

Matthew Davidson (stretta) put together this demo video for obo – a Max For Live app that turns Ableton Live 8 into a matrix synth, inspired by the addictive-like-crack ToneMatrix synth:

I’ve adapted obo for use in maxforlive, added monome 128/256 support (not required for operation), 16 pattern memory, edit while play, copy/paste patterns and a scale generator (whew).

Check it out and let me know what you think!

When Rodger Linn introduced the AdrenaLinn Sync effect last week, the plugin was criticized for its dependency on Pluggo, a Cycling ‘74 product that’s no longer being updated.

Linn has released a statement on his site that clarifies the situation on this:

AdrenaLinn Sync is based on Pluggo, which is a feature of Cycling 74’s Max/MSP program that allows programs written in Max/MSP to be saved as VST/AU/RTAS plug-ins for both OSX and Windows.

AdrenaLinn Sync is written in Max/MSP and was close to completion when, earlier this year, Cycling 74 announced that they would no longer support the Save As Pluggo feature in Max/MSP. At that time, we began working on a non-Pluggo version, while also finishing up and in November, releasing the Pluggo version.

We expect the non-Pluggo version to be available around March of 2010, and it will be a free upgrade to all AdrenaLinn Sync owners.

That said, the current Pluggo-based version of AdrenaLinn Sync runs fine (with the exception of our stated incompatibilities with Cubase and Max For Live) on OSX Snow Leopard, and the pending Windows version runs fine on Windows 7.

On a personal note, I (Roger) regret the loss of Pluggo support in Max/MSP because I find Max/MSP to be a wonderful development environment compared to other options, allowing product designers to focus more on design and less on reinventing the wheel of low-level coding.

It’s good that Linn released the statement – but because the promised version is vaporware, it really comes down to whether or not AdrenaLinn meets your needs. If you’re interested in AdrenaLinn Sync, check out the review at Waveformless, and download the 14-day demo to try it out, too.

Changes Ableton Live 7.0.18:

• Support for the Novation LaunchPad controller.
• Support for the AKAI MPD-18, MPK-25, MPK-61 and MPK-88 controllers.
• Support for OpenLabs devices.
• Several improvements for the AKAI APC.

Bug fixes since v7.0.16:

• Putting third party plug-in with MIDI out ports on the master track and route the MIDI output of the master track into a MIDI track would crash Live.
• Opening a particular set would crash as soon as the clip detail view of a particular clip would be opened.
• Deleting temp folder would not always work properly.
• Ctrl + Z on modal dialog on a modal dialog could crash Live.
• The display representation of the Axiom Pro’s endless encoders would not update when the knobs itself are turned.
• The state of the tempo nudge up/down would be saved within a Live set by mistake.
• Select on launch would not working when using the APC.
• Locked user remote script would not be locked after re-loading the Live set.
• On Mac OS X, switching on the APC 40 or the Remote SL after Live is already started could still not allow to use the controller until its MIDI port was closed and reopened.
• On Mac OS X 10.6.0, using the Complex warper could crash Live.
• Playing MIDI could crash Live when multi-core support is enabled.
• Switching on track-solo would not work properly in exclusive mode when switching via the APC.
• On Mac OS X 10.6.x, starting Live with a template set that contains audio clips, and with another CoreAudio client running at the same time (e.g. iTunes), would freeze Live. Also, changing sample rates in Live would not work properly.

Torley does his thing with Camel Audio Alchemy, demonstrating some extreme arpeggiator pattern programming.

via Torley:

GET ALCHEMY @ http://www.camelaudio.comI conjure magic and show you how to cook up a wickedly gorgeous, crazy-spinning arpeggiated sound in just a few minutes… from scratch! This makes a lovely foundation for more complex sounds you can achieve within the single synth powerhouse, Alchemy. Let’s dive into the arp settings, stacked sources, a touch of modulation, and even layered effects for spice.Yes, the opening ditty was made entirely with Alchemy in about 5 min.DISCLAIMER: I’m not professionally affiliated with Camel Audio. I just reckon they rock (both product and service-wise). I’m one of those people that uses CamelPhat like salt.

Matthew Davidson has put together a couple of videos demonstrating how you can run monome apps in Ableton Live 8 with the help of Max For Live.

Davidson notes:

maxforlive simplifies monome workflow.

For example, if you want to use polygomé with a DAW, you must open your DAW software, open polygomé, set up sync in polygomé, set up sync in your host app, set up MIDI output routings from polygomé, set up MIDI routings in your DAW. There is a lot of overhead.

With maxforlive, you simply drag polygomé into your track as a MIDI effect. Then you can start playing immediately. There is no setup. Everything is in sync.

Here’s another video, by Davidson, that demonstrates a stepfilter audio effect he created for Ma For Live.

If you’re working with the monome + Max For Live combination, leave a comment with your thoughts on it!

Ableton Live: Dubspot Instructor, Michael Hatsis, shows how to add Space and Dimension to Minimal Techno style drums.

Topics covered include using Drum Rack’s Send and Return tracks, as well as Creating and using a Plate and a Room style reverb in Ableton Live.

via DubSpot:

If you’re excited about Max For Live, but don’t know anything about Max, check out max4live’s video tutorials.

This video looks at message ordering in Max. There’s a beginning Max video also.

There’s an early review of Berna – the virtual studio app that recreates a 50’s electronic music lab – at Waveformless.

They say there’s a lot to like in Berna:

The flexibility of the matrix and the vast array of unusual sound manipulators will be a breath of fresh air to those burned out on the virtual analog trance machines that seem to get released every week. The limitations present here are faithful to what the original studios were limited to, and sometimes having those kinds of restrictions can lead you down very interesting paths you might not otherwise travel.

For sure, this isn’t the most useful piece of software in the world (to most of us), but it’s really hard to find fault anywhere with the program. The sound quality is great, the tools are weird and fun to play with (it drove my cats NUTS), and you can learn a bit about the history of your craft in the process. If nothing else, it’ll certainly give you an appreciation for how easy modern electronic composers have it.

So if you’d like a break from the norm and feel up to making some crazy 1950’s sci-fi soundtrack fodder, it’s hard to go wrong for a mere 10 Euros. [9/10]

See the full review at Waveformless.

Free Music Software: Artifake Labs have released the RedTron_400, a software version of the Mellotron M400.

Features:

• Realistic user interface.
• Six sound types:
  • 3 Violins
  • 8-Voice Choir
  • Flute
  • Brass
  • String Section
  • Cello
• “Loop” and “Non-Loop” modes : as the original “Mellotron”, each sound is eight seconds long but you can switch to “Loop Mode” and allows the samples to loop continuously.
• Layer possibilities & independent parameters for layer A & B :
  • Volume, Tune, Reverb, Delay, Pan, Octave, Note, Cutoff, Resonance, Attack & Release parameters.
  • Delay effect (Amount, Time, Feedback & Pan parameters).
  • Reverb effect (Mix, Width, Size & Damp parameters).
• Global Volume control
• Global Tone control
• Global Pitch control
• Can be used as Soundfont Player to mix any .sf2 file with “Tron sounds” or to extend the sound palette.

If you’ve used RedTron 400, leave a comment with your thoughts!