This video shows you how to use Ableton Live like an MPC to chop and play your samples so that they can cut each other off.

The video also shows how to setup your own custom drum racks in Ableton so this chop and cut off setting is done automatically when you slice a new sample.

via SoundsAndGear

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.

This video, via synthjunk, is a celebration of all that is good – with an emphasis on the pure analog electronica power, using classic synths, sequencers and drum machines.

via synthjunk:

Influenced by electronic music of the 70’s 80’s & 90’s.

Recorded using Ableton live with minimal overdubbing.

Robot featured is home made.

This set of videos, by Darren Cowley, demonstrates some advanced programming techniques with the Akai APC40 & Ableton Live.

APC40 Customization (above):

This is a quick Vimeo about how i’ve used Bomes to modify the behaviour of the APC40 within Ableton Live.

Because of the high demand for the support of this template head over to thestudiosessions.co.uk to find details of how to get hold of a copy…..

This short film is mainly to act as inspiration to others as to what can be achieved with the APC with a little bit of effort and without Max for Live….

Click here to view the embedded video.

APC40 Customization – Scene Two (Pioneer Emulation):

This is a follow up to my first Vimeo whereby i use Bomes Midi Translator to create a new scene of functionality for the clip launch buttons on my APC40. This scene is designed to mimic the behaviours of my trusted CDJ’s and DJM600. WIth it instead of the standard mapping you can consider Ableton as a bank of 8 CDJ’s ready to play….

Click here to view the embedded video.

This vimeo demonstrates how i’ve set up my DJ template using Bomes Midi Translator to get the most functionality out of the APC40….

Much of the APC40 is fantastic but it’s the little things that annoy, like the pan banks not always returning to the last value known and a lack of being able to control all the filters across each track without hard wiring a control knob and then losing it’s other functionality…

As you can see this set up solves many of these problems and brings in the ability to use Live’s Looper on the fly along with various other beatmashing effects….

To use the template you must be on Live 8.0.5 or higher and be using the full version of Bomes Midi Translator 1.7, without these the template will simply not work….

To achieve the Beat Jumping, reverse etc. effect you’ll need to have a copy of the VST version of Reaktor….

Akai Professional is now shipping its new MPD18 portable pad controller, the smallest-sized model in Akai’s line of MPD pad controllers.

The MPD18 has a U.S. Retail Price of $199.00 with an estimated street price of $99.00.

Description:

DJs, programmers, producers and other musicians will find this MIDI-over-USB controller to be perfect for triggering samples, controlling software, and a variety of other applications. Its small footprint makes the MPD18 easy to integrate into any setup for stage performance, studio production or musical creation on the go.

The heart of the MPD18 is its bank of 16 velocity and pressure-sensitive genuine MPC pads, an Akai Professional exclusive. Users can access three different banks of sounds from the pads for a total of 48 sounds at once. The MPD18 also borrows the MPC series’ assignable Q-Link controllers, enabling users to control nearly any parameters in their software in real time on an assignable Q-Link fader and an assignable Q-Link button.

Users will find the MPD18 to be convenient, sending MIDI information over its plug-and-play USB interface for use with Mac or PC without installing any drivers. The USB connection also powers the MPD18 so musicians can use the controller with no power supply. The MPD18 can control virtually any MIDI software, as well as MIDI hardware, such as synthesizers, sound modules, samplers, sequencers, drum machines and more.

“The MPD18 gives you the iconic control feel of the MPC in a compact footprint that’s easy to fit in any setup,” said Adam Cohen, Director of Business Development, Akai Professional.

Akai Professional is now shipping its nanoKontrol-killer LPD8 laptop pad controller and LPK25 laptop performance keyboard controller.

The LPD8 and LPK25 are USB-MIDI controllers for musicians, producers, DJs and other music creators. Each model is less than 13 inches across and weighs less than a pound to easily fit into a laptop case, backpack or messenger bag for extreme portability.

The LPD8 is based on Akai Professional’s MPC line of music product stations. The LPD8 has eight blue light-up pads that are velocity sensitive for programming rhythmic or melodic parts. The pads can also send program-change information to software. The LPD8 also has eight assignable Q-Link knobs to which users can assign virtually any parameters in their software for hands-on control.

The LPK25 is a scaled-down relative to the MPK series of keyboard performance controllers. The diminutive keyboard is made up of 25 miniature, velocity-sensitive keyboard keys with synth action. The LPK25 contains an arpeggiator, which steps through chords automatically, assisting musicians with creating quick melodic ideas. Sustain, octave up and down and tap tempo controls round out the LPK25’s easy-to-learn layout. Each controller works plug and play with Mac and PC and requires no software driver installation or wall power for operation.

Both the LPD8 and LPK25 have four memory banks for programming and recalling settings appropriate to different software programs they use.

The LPD8 and LPK25 are each available from musical instrument and professional audio retailers for a U.S. Retail Price of $129 USD and an estimated street price of $69 USD each.

Struggling to figure out the latest software/controller/update?

Then watch your back – because there’s a new generation coming. Check out this drum and bass improv by an 11-year old kid, if you have any doubt.

via strrrangemen:

brother playing around with ableton live He took the whole afternoon to learn Ableton Live Basics, now

i’m proud of him

He’s 11 and decided suddenly to play with my stuff

Cult of the Maschine is a techno jam produced entirely with Native Instruments’ Maschine.

via SuicideServer:

A little loveletter to Natives Maschine and my other lovely gear. This is the fist time i did a video with Modul8 to add some more spice instead of the old finger cam. The track was produced entirely with Maschine, which was hosted in Ableton Live8. I used a delay and Beatlookup from the Reaktor User Library. Enjoy

mik300z makes a triumphant return to the Synthtopia Sunday Synth Jam with a Giorgio Moroder inspired electronic disco improv:

Based on “here to eternity”. This was all going swell until the ESQ1 drifted out of pitch near the end (not my bum notes for a change lol) Some Human league influence here too:)

It’s hard to overestimate the influence Moroder has had on electronic dance music, isn’t it?

Akai Professional has announced that the Akai Miniak is now available.

The Miniak combines Akai’s control surface with Alesis’ synth engine.

The Miniak lets you create programs with up to eight multi-timbral voices, each with three oscillators. You can create complex sounds using the Miniak’s two multimode filters, three envelope generators, two LFOs, stereo effects and 40-band vocoder with gooseneck microphone. The MINIAK also has a comprehensive sequencer with step and dynamic real time phrase sequencing, a drum machine/rhythm sequencer and an arpeggiator.

The MINIAK is available from musical instrument and professional audio retailers and has a U.S. Retail Price of $699.00 with an estimated street price of $499.00.

Details below.

If you’ve used the Akai Professional Miniak synthesizer, leave a comment with your thoughts.

Specifications:

Akai MINIAK Features

• 37 key synth-action keyboard with velocity sensitivity
• 8 voices, each with 3 oscillators
• Up to 8 multi-timbral parts with stereo effects and 40-band vocoder
• 2 multi-mode filters, 3 envelope generators, 2 LFOs, sample and hold, tracking generator
• Dynamic real-time and step sequencers, arpeggiator, and drum machine/rhythm sequencer
• Stereo bus effects including reverbs and delays
• 24-bit 1/4 inch balanced stereo analog outputs and inputs
• More than 600 preset sounds
• Sound banks: bass, lead, pad, string, brass, keys, comp, drum, SFX

Under the Hood

A Miniak program is a sound built from the Miniak’s internal oscillators, filters, and envelope generators. The Miniak’s more than 600 preset programs span the range of classic analog synthesis sounds. If you’ve heard it before, you will probably find it in the Miniak’s presets. In a synth, oscillators generate raw sound. Their output is fed into the filters, whose output is fed into the amplifiers. As the signal moves along that path, you can manipulate the mix at several points and apply modulations, envelopes, and effects to create a custom palette of sounds.

Sound Generation

The oscillators can produce different waveform types and shapes to create various harmonic structures, which our ears perceive as different timbres. Here are some of the waveforms you can create with the Miniak’s oscillators:

• Sine: Smooth, pure sound
• Triangle: Fuller than a sine wave
• Sawtooth: Harsh sonic character
• Pulse: Harmonically rich, ranging from full-sounding square wave to a sharp impulse wave

The Miniak’s oscillators can produce continuously variable waveforms, so it can can hit any point between these examples.

You can connect external audio sources, other synthesizers, mixers, guitars, and more, using the 1/4 inch inputs. The jacks accept either balanced or unbalanced cables. You can mix in the external audio sources with the Miniak’s oscillators. The resulting combination is then sent through the Miniak’s filters and effects. A special group of programs including vocoder programs exists just for use with the external inputs.

The outputs of the oscillators, the noise generator, the ring modulator, and the external inputs are fed into a virtual mixing board called the pre-filter mix. From here, the signal hits the filters. For each source, you can specify its level and its balance: how much is sent to Filter 1 and how much is sent to Filter 2.

Filtering
The oscillators produce very raw sounds. To shape and fine-tune the sound, filters give you tools for dampening certain harmonics and boosting others. Filters alter the frequency content of the signal and can have a drastic effect on the sound. Each of the Miniak’s voices contains two filters, and each filter can be one of the following different types, each with its own character and sonic flavor.

They are:

• Bypass, Low Pass: ob 2-pole, tb 3-pole, mg 4-pole, rp 4-pole, jp 4-pole, al 8-pole
• Band Pass: ob 2-pole, al 6-pole, octave dual, band limit
• High Pass: ob 2-pole, op 4-pole
• Three Vocal Formants, Four Comb Filters, Phase Warp, Frequency, Resonance, Key Tracking, Envelope Amount, Offset, and Absolute

After filtering, the signal is fed to the post-filter mix. For each filter output, as well as a pre-filter signal of your choice, you can specify a level and a pan.

Output Processing
In the output stage, the Miniak allows you to apply a drive effect and add some compression, distortion, or other amplification effects. The Miniak allows you to set up twelve modulation routes. Each of these is a virtual connection between some physical or internally generated source and some program parameter. Basically, a mod route tells the synth to automatically grab a knob and tweak it while a note is playing. Although there are quite a few sources that you can use for your mods, the most common ones involve the LFOs and the envelopes.

LFOs
LFO stands for low-frequency oscillator. LFOs are not designed to produce sound, but instead to tweak a program parameter according to a looping pattern. For example, if you are looking to add vibrato, you need the pitch to continuously waver up and down. Each of the Miniak’s voices contains two LFOs, each of which offers rate, depth, shape, and tempo sync. The Miniak’s LFO can sync to the internal clock or any external source via MIDI.

Envelopes

If you hit a note on a piano, you hear a burst of sound energy as the hammer strikes the string, followed by lower level of loudness as you hold down the note and let the string ring out, which fades quickly as soon as you release the note and the damper is applied. Synthesizers model this behavior using ADSR Envelopes. ADSR stands for Attack, Decay, Sustain, and Release, and represents the different stages that the sound goes through over the life of the note. The Miniak also has an envelope that is specifically designed for loudness, called the Amp Envelope. Envelopes are useful in all sorts of mod routes, which is why you can hook up any of the Miniak’s envelopes to any modulatable program parameter. Each of the Miniak’s voices contains three envelopes: Amp Envelope, Filter Envelope, and Pitch/Modulation Envelope.

Sequencing

The Miniak has extensive sequencing and arpeggiation performance capabilities. Arpeggios and sequences both respond to a key-press by playing a series of notes over a programmed rhythmic pattern. An arpeggio loops over whatever notes you are holding down on the keyboard. If you hold down a chord, the Miniak will generate a melody by playing each note of your chord individually. A sequence has a melody line built in so you can hold down a single key and the Miniak will play back that melody relative to that key. Pressing another key will transpose the sequence. The Miniak has MPC-style step sequencing and recorder-style dynamic real time phrase sequencing. There’s also a drum machine/rhythm sequencer for the built-in drum sounds.

Effects

The Miniak has a full compliment of stereo effects including Chorus, Feedback, Theta Flanger (Phaser + Flanger), Thru Zero Flanger, Super Phaser, Notch Frequency, String Phaser, 40-Band Vocoder, Analysis Gain, Sibilance Boost, Band Shift, Synthesis Input, Analysis Signal In, Analysis Mix, six types of Delay, and three types of Reverbs.

With the extensive sound generating and manipulating power of the Miniak, the sounds you dream up are as easy to create as twisting a few knobs. And creating complete soundscapes with the sequencer and arpeggiator couldn’t be easier. Create your unique sound with the Akai Miniak.

Sunday Synth Jam. Plastic Stars is a synth fest, via mik300z:

inspired by some great analogue percussion from the akai s3000 sampler., i hope you like this electronica jam, got it done and dusted in about 3 hours,…:) Bass; Juno 106Drums: akai s3000Analogue strings: Juno 6synth lead : ESQ 1arpeggiator : MicrokorgFX;;Korg x5opening voices : Juno G

DJ Magazine took the Akai Pro MPD32 for a spin.

The MPD32 is a MIDI-over-USB performance pad controller for DJs, programmers, producers, and others musicians.

If you’ve used the Akai Pro MPD32, leave a comment with your thoughts!

Akai Pro MPd32 Features:

• MIDI controller for production and performance
• MPC pads: bank of 16, velocity and pressure-sensitive
• Four selectable pad banks for a total of 64 sounds accessible from the pads
• Eight assignable Q-Link faders, eight assignable Q-Link 360° knobs, and eight assignable Q-Link buttons, all three banks
• MIDI-synced MPC Note Repeat and MPC Swing
• Two assignable footswitch inputs and expression-pedal input
• Dedicated transport controls
• Backlit, easy-to-read display
• MIDI-over-USB or MIDI operation
• USB powered or powered via optional AC adapter
• MPC 16-Level and Full Level
• Comes with custom versions of Ableton Live Lite, FXpansion BFD Lite, and Vyzor Editor Librarian software
• 30 user-definable presets for DAW applications

via AkaiProVideo

DJ Jazzy Jeff talks beatmaking with Ableton Live.

via AbletonInc:

DJ Jazzy Jeff is a legendary DJ and producer with countless hits and even signature scratch styles to his name. Jeff’s skills and knowledge have earned him a reputation as one of the industry’s musical godfathers. With over 20 years in the game and a back catalog covering soul, hip hop, jazz and house, he’s still making records and developing the art of the DJ. We got the chance to meet Jeff in his studio, so we took our cameras along. In this movie, Jeff shows us how he builds a beat and shares his thoughts on Live and Sampler.

This video, via soundonsoundvideo, takes a look at the Akai LPK25 & LPD8 portable laptop music controllers, which were introduced at the 2009 Summer NAMM Show.

2009 Summer NAMM Show: This is an official demo of the new Akai LPD8 Pad Controller.

“There is so much low-end content in music being made today,” said Adam Cohen, Director of Business Development, Akai Professional, “we felt that a studio monitor specifically designed for extended low frequency playback would appeal to the people who already use our MPCs and production controllers.”

RPM8 studio monitors are sold individually and will be available from professional audio and musical instrument retailers Q4, 2009. Pricing is TBA.

Description:

RPM8 studio monitors are two-way, active, bi-amplified, nearfield loudspeakers. The two-way monitors each feature an eight-inch woven-kevlar low-frequency driver with 80W RMS of continuous amplification for full bass all the way down to 39 Hz. The monitors’ high-frequency system consists of a one-inch silk-dome tweeter with 40W RMS of continuous amplification, mounted on a custom, functionally optimized waveguide for excellent control of directivity and reduction of unwanted early reflections.

RPM8 studio monitors contain active, fourth-order crossovers for outstanding separation and optimal power management. Their cabinet is constructed of industry-standard MDF for low resonance, and is dually ported on the front baffle for bass extension in any setting including soffit-mounted installations. The bi-amplification, ported cabinet design and overall acoustical efficiency combine to produce a speaker that can deliver up to powerful 113 dB SPL and with accurate frequency response from 39 Hz to 20 kHz. Producers will appreciate the RPM8s’ bicolor LED clip indicator, which assists them in avoiding damage to their system. Engineers can connect their professional studio systems to the RPM8s’ combination XLR-balanced 1/4″ TRS inputs for compatibility with a wide variety of source equipment.

2009 Summer NAMM Show: Akai has announced the MPK61, the fourth model in the company’s line of keyboard/MPC performance controllers.

Description:

The MPK61 is a keyboard performance MIDI controller that expands the popular MPK line.

Each MPK controller combines a piano-style keybed with a bank of genuine Akai Professional MPC pads, assignable Q-Link controllers and some of the technologies from the icon MPC. The MPK61 offers a mix of 61 semi-weighted keys with aftertouch, 16 MPC pads with velocity and pressure sensitivity, 72 assignable Q-Link, MPC Note Repeat, MPC Swing and an arpeggiator.

The MPK61’s size is ideal for performers who need a larger range than the original 49-key MPK49 offers, but also prefer the lighter weight and associated portability of a semi-weighted keyboard. The MPK61 retains the key split features from the MPK88, enabling the performer to divide the keyboard into two zones for performing with two different programs at once.

Like its 25, 49 and fully weighted 88-key siblings — the MPK25, MPK49 and MPK88, respectively, the MPK61 empowers musicians to create and manipulate melodic, harmonic and rhythmic content and manipulate quickly with its arpeggiator, MPC Swing and MPC Note Repeat technologies.

The MPK61 comes with Ableton Live Lite Akai Edition software, one of the most popular and powerful performance and production programs worldwide. Ableton Live Lite enables musicians to spontaneously compose, record, remix, improvise, and edit musical ideas in a seamless audio/MIDI environment.

The MPK61 is a MIDI controller that sends MIDI values over USB for plug-and-play performance with Mac and PC. Because they are MIDI compliant, the MPK series works with virtually all MIDI recording, sequencing, and performance software for musical performers from keyboard players to producers to DJs and VJs.

The MPK61 performance keyboard controller will be available from professional audio and musical instrument retailers Q3, 2009.

2009 Summer NAMM Show: Hotness! Akai Professional has introduced the LPD8 laptop pad controller and LPK25 laptop performance keyboard controller.

The LPD8 and LPK25 will make their official debut at Akai Professional’s booth, number 400, at the Summer NAMM Show held at the Nashville Convention Center, July 17 – 19.

With the LPD8 and LPK25, Akai is taking on Korg’s nanoKontrol line directly. Korg’s nanoKontrol MIDI controllers feel a bit flimsy, so if Akai improves on this and stays competitive with their price, they’ll have a couple of winners.

Details below. Leave a comment with your thoughts on these bad boys!

Description:

The LPD8 and LPK25 are USB-MIDI controllers for musicians, producers, DJs and other music creators. Each model is less than 13 inches across and weighs less than a pound to easily fit into a laptop case, backpack or messenger bag for extreme portability.

The LPD8 is based on Akai Professional’s MPC line of iconic music product stations. While the smallest model, the MPC500 is quite portable, many producers prefer to work with software on their computer and the LPD8 gives their laptop the controls they prefer over a mouse and keyboard. The LPD8 has eight blue light-up pads that are velocity sensitive for programming rhythmic or melodic parts. The pads can also send program-change information to software. The LPD8 also has eight assignable Q-Link knobs to which users can assign virtually any parameters in their software for hands-on control.

The LPK25 is a scaled-down relative to the MPK series of keyboard performance controllers. The diminutive keyboard is made up of 25 miniature, velocity-sensitive keyboard keys with synth action. The LPK25 contains an arpeggiator, which steps through chords automatically, assisting musicians with creating quick melodic ideas. Sustain, octave up and down and tap tempo controls round out the LPK25’s easy-to-learn layout.

Each controller works plug and play with Mac and PC and requires no software driver installation or wall power for operation. Both the LPD8 and LPK25 have four memory banks for programming and recalling settings appropriate to different software programs they use.

“Today’s music is in constant evolution, and that requires the tools for music creation to evolve similarly,” said Adam Cohen, Director of Business Development, Akai Professional. “The computer has entrenched itself as the new core of the music studio, and we are now seeing more live performance with computers than ever before. The LPD8 and LPK25 are the perfect extensions of the computer for making music in any setting.”

The LPD8 and LPK25 will be available from musical instrument and professional audio retailers Q3 2009. Pricing is TBA.

This official Ableton video looks at making sounds in Ableton Live with Sampler.

Sampler is a sampling instrument, that brings multisample playback and import, as well as sound design capabilities, to Ableton Live.

via AbletonInc

Last week, we asked if the Akai APC40, the new, relatively inexpensive MIDI controller for Ableton Live, was going to make the monome irrelevent.

It’s clear that the Akai APC40 is stealing some of the monome’s mojo, because the APC40 is cheap and offers a great array of controls. At $400, the APC40 is cheap enough to become the new hot platform for music hacking.

As a result, videos, like the one above, are starting to appear on YouTube. The video demonstrates Akai APC40 customization and adding additional functionality with Bome’s MIDI Translator Pro.

This is just scratching the surface, though. CDM’s Peter Kirn has put together a nice SuperGuide to hacking the APC40. It looks at monome emulation, manual MIDI mapping, MIDI lights and more.

This is a must-read for APC40 owners, or if you’re considering the purchase of an APC40.

If you’ve got other ideas or resources for APC40 hacking, leave a link in the comments!