Ableton Live 8: Kamoni discusses his live performance approach on Phuq Radio.

He plays some breaks, DnB, Jungle and Dubstep then goes into detail about his Ableton Live programming techniques.

See the full interview on phuqradio.com.

via kamoni:

Blue Couch Dog: Realtime Percussion Jam

via dr2050productions:

Live on-the-spot improvisation using timpani, Java drum, and an FM8. Everything is controlled in realtime. I’m using a Zendrum LT, a Novation Zero SL with various pedals, and a plastic white 13″ Macbook (with 4GB of RAM). On the software side, it’s all Ableton LIve and various Native Instruments plugins, including two Battery 3 instances and two FM8 instances.

I’m trying to show some of the subtlety and breadth of both the Zendrum and the virtual super-instrument that I’ve created. The ideas fall apart too fast and I think I get into distorted noise a bit too much, but who knows. Anyway, download the adjusted MP3 at http://www.thesixtyone.com/dr2050 (it’s Blue Couch Dog).

Only I hear the click.

An insane keyboard drum solo, via DavidMeShow.

Who needs custom controllers?

This tutorial looks at how to make music with Apple’s Garageband.

via PrimeLoops:

Garageband is a very powerful music-making package from Apple, and can be used to make, edit and remix many styles. Here we show you the Garageband interface, and how to get to grips with the basics.

This official Ableton Live video looks at drum processing with Depeche Mode.

via AbletonInc:

Kerry Hopwood is the Live Programmer/Musical Director for Depeche Mode. When it comes to staging a live DM show, theres no cutting corners. Kerry puts it simply: We need to use tools that work. In concert, Kerry and Depeche Mode rely on Ableton Live as an integral component of shaping the bands drum sound. In this movie, shot at a concert in Berlins Olympiastadion, Kerry discusses the advantages that Live offers for on-stage sound processing.

Click here to view the embedded video.

Sound Shoes (above) – Tina Jespersen from Cat In Orbit has one of her projects involving shoes fitted with pressure sensors and wired into Max PSP.

Walking around in the shoes creates audio effects like walking in gravel, leaning forward on your toes triggers a mouse-click that swaps out the sound effect and then you’re walking in puddles of water. Although these are wired, this could easily be updated with Flash 8, MakingThings/Teleo, mp3 audio recorder and a few force sensors or bend sensors.

Sketch is a live performance with a gesture interface based on tap dance control:

This is an Interactive Performance Event in Computer Graphics, Computer Music and Dance. It is based on a new gesture interface: a pair of tap shoes. This new musical instrument enables a new sensory experience, to strength interaction between images, sounds and rhythm, and to enhance the relationship between dance and music. Here, co-operative or combined behaviours between human and machine create a emergent system.

Details here.

MIDI Tap Dance Shoes

Click here to view the embedded video.

Above, Fabien Ruiz ( France ) dances with a wireless MIDI tap dance shoes system.

Perform-o-shoes offer wireless sensor-embedded kicks to let you perform your Avant-Garde theatre in style:

The shoes themselves are store bought and retrofitted in several different iterations. Stereo quarter-inch jacks adorn the back of the sole. Quarter-inch cable connects the sensors of the shoes to two respective wireless modules which, in-turn, send the sensor values on to the receiver who talks MIDI to a custom Max patch controlling video, sound, analog vertical television hold, and even a midi controlled lighting dimmer. The shoe is built as a modular instrument to be able to work with the custom Max patch. The Max patch itself is further modular to be able to control any number of retrofitted, customized theatrical equipment.

More details here.

Click here to view the embedded video.

This proof-of-concept video showcases Tom Hobson’s DIY BeatSneaks MIDI shoes‘ basic functionality:

“I’ve put together a pair of shoes that, with a little help from an Arduino, will let me trigger MIDI signals. There are FSRs (Force Sensitive Resistors) in the heels and toes of the shoes, which serve as the tap sensors. Basically, an FSR, without any applied pressure, is like a break in a circuit (i.e. has infinite resistance), and as you apply more force, it becomes less and less resistive. So, if we hook up one end of an FSR to a voltage source and the other to the Arduino’s analog input, we can send a signal to the Arduino every time we apply pressure to the FSR. We can then take this signal, convert it into MIDI, and start making sounds. I used the Serial-MIDI Converter from Spikenzie Labs. The serial-MIDI conversion could likely be performed in MAX or otherwise manually, but this does the trick and saved me some time. For the actual sounds I used Garageband, but you could use MAX, Ableton Live, etc.”

Full details are available at Hobson’s site.

MIDI Tap Shoes

Click here to view the embedded video.

Film jest krótk? prezentacj? olbrzymich mo?liwo?ci butów, które mog? gra? dowolnymi d?wi?kami. Wi?cej o nowoczesnym brzmieniach stepu na www.peyotl.pl

Googlish: Movie is short presentation of capability of enormous shoe, which (who) can play optional sounds. About on more modern tones of steppes www.peyotl.pl

US Patent 5765300 (1998) is for a shoe activated sound synthesizer device:

The present invention is a shoe activated sound synthesizer device that enables movement of a shoe to be translated into audible sounds. The sound synthesizer device consists of a shoe in which there is disposed at least one trigger element capable of producing a trigger signal when the shoe is flexed to a predetermined degree. As the shoe is worn and is brought into contact with the floor, the shoe is flexed. By bringing different parts of the shoe into contact with the floor in a controlled manner, a person can selectively control the production of trigger signals from any trigger element contained within the shoe. A sound synthesizer circuit is provided that is coupled to each trigger element contained within the shoe. The sound synthesizer circuit produces an audible sound, via a speaker, when a trigger signal is received from the shoe.

In a preferred embodiment, multiple trigger elements are contained within the shoe, wherein each of the trigger elements causes the sound synthesizer circuit to produce a different sound or note. As a result, the present invention shoe becomes part of an electronic instrument, wherein the controlled movement of the shoe produces selected rhythms, notes or sounds. The ability of a person to artistically move their feet and thus their shoes is required in order to produce melodious sounds. Optional controls can be provided that enable a person to change the sounds or tones produced by the sound synthesizer circuit. Additionally, controls can be provided to selectively control the sensitivity of the trigger elements to different shoe movements.

In an optional embodiment, the multiple trigger elements embodied within a shoe are coupled to a musical instrument digital interface (MIDI). The MIDI converts the analog signal of the trigger elements into a digital signal that contains information about which of the trigger elements were flexed and how severely those trigger elements were flexed. The digital signal is then forwarded to a remote synthesizer of another instrument, such as an electronic keyboard, that is adapted to receive MIDI information.

If you know of other examples of MIDI shoes, or other related resources, please leave a comment below!

The ResoDrum is an electronic instrument played like a hand drum. It is both sensor and speaker.

The sounds you are hearing are coming from the ResoDrum itself, via a transducer bolted to the underside. Tap on it lightly and you get small percussion sounds; hit it hard and it goes berserk.

(Note that the audio and video are slightly out of sync. The ResoDrum reacts without noticeable latency.)

via AlloyElectric

This video, via soundonsoundvideo, captures an overview of the Alesis DM10 electronic drum kit from the 2009 Summer NAMM Show.

The drum corps tradition is dying. And synthesizers are to blame.

At least, that seems to be the point of this very odd video, 128 in G, by drumcorpsisdying.

Are synthesizers really killing off drum corps?

Or is it rat poison?

I’ve got no effin’ idea, but this video is pretty creepy and kinda makes me want to stay away from drum corps performances for the near future.

Give it a look and let me know what you think!

Signtaltonoize.com has released a 2nd Moog Drum Rack Sample Set for Ableton Live 8, Moog Drum Two.  (The 1st can be downloaded  HERE.)

The library is released as Donationware.

Description:

You will find some nice deep tones in this set. Think 808 if it had a Minimoog filter.  I’ve created pitch macros for each sample. Being that it is sampled @ 96k you have plenty of  room to re-pitch those samples without quality loss for music production.

Captured @ 24bit/96k with Lynx converters & DBX 903 compression.

Analog Signal path = Moog Voyager-DBX 903’s-Console EQ-Dominator II- Lynx.

Six velocity samples per pad.

The video playlist above features an overview of Native Instruments’ Battery 3, along with a series of tutorial videos.

This is a quick demo of the Music And More (MAM) ADX 1,  a compact and inexpensive drum synthesizer.

It has 5 voice channels: Bass, Synth, Snare, Hi Hat and Metal (in ascending order on machine).

via zibbybone:

One cool feature about this machine is that the Snare and Hi Hat channels feature both “open” and “closed” variants. You can here the “closed” snare on notes 5 & 13 (on a typical 16th note Roland x0x style pattern) and the “open” snare on note 8 (same note step I have the “synth” sound programmed on). Only real compaint I have with this instrument is that the MIDI note numbers are fixed and cannot be reassigned. The MIDI Channel is assigned using 4 dip switches on the rear panel. The rear panel has stereo outs (which I used with the front panel pan pots in this demonstration) and individual outs for outboard processing and/or mixing. The LED for the Metal channel is out on this particular unit. The sounds are sequenced via Roland TR-909 External Instrument mode. If you”re craving some fresh drum sounds and cannot afford the Vermona DRM-1, this is a great alternative. The bass on this demo is pretty low and cannot be heard on my crappy lap top speakers. Enjoy and be sure to check out my other videos of synths, drum machines and effects.

• $89 / 16 bit / 44.1 (introduction offer / price goes $99 on 25th of April 2009)
• $99 / 24 bit / 48 (introduction offer / price goes $109 on 25th of April 2009)
• Core Dhol Drum Articulations, includes:
• Dhol Bass Drum w/ traditional Dhol stick (10 velocity layers – 10 round robin)
• Dhol Bass Drum w/ mallet (10 velocity layers – 10 round robin)
• Dhol Bass Drum w/ hands (10 velocity layers – 10 round robin)
• Dhol Bass Drum w/ fingers (10 velocity layers – 10 round robin)
• Dhol Body Rim Shot 1 (10 velocity layers – 10 round robin)
• Dhol Body Rim Shot 2 (10 velocity layers – 10 round robin)
• Dhol Snare Drum w/ traditional Dhol bamboo stick (10 velocity layers – 10 round robin)
• Dhol Snare Drum w/ mallet (10 velocity layers – 10 round robin)
• Dhol Snare Drum w/ brushes (10 velocity layers – 10 round robin)
• 874 BPM loops w/ assorted percussion
• 80, 90, 110, 120, 130, 140 BPM
• Extensive read me install, patch and hint documentation (.pdf) (download here)
• 20 instrument patches, 2.063 samples, 1.7 GB installed, 995 MB .rar download
• Sample resolution: 44.1Khz/16Bit .wav format (optional 48Khz/24bit .wav format included)
• Format(s): Kontakt 2 and .wav
• Note: Native Instruments Kontakt 2.2.4 / 3 full stand-alone retail versions required

Description:

This is a library of 1,000 analogue drum, percussion and one-shot hits. However these are not taken from vintage drum machines (of which there is already plenty of content available elsewhere) but rather all the sounds are hand crafted by Boddy on vintage analogue synths and modular systems.

They run the full gamut from thunderous bass drums, crisp snares & hats through to abstract synth hits & FX and even weird glitchy & industrial sounds. The sounds are a mixture of mono and stereo samples and some have genuine analogue effects printed on them from spring reverbs, bucket brigade delays and phaser/flangers. This all adds up to a cornucopia of drum and percussion sounds that can be used in virtually any style of production.

The sounds are also mapped out in Kontakt 2 programs with a basic envelope and low-pass filter provided. The modulation wheel is set to turn the cut-off of the filter down as it is raised. These programs are presented in three different ways. The Audition programs present all the sounds per category with one sound per key starting at C1. The 18 Kit patches follow as closely as possible the General MIDI Percussion Key Map from B0 (Key35) to B2 (Key59) and provide a convenient way
of playing some of the sounds as “drum kits”. Finally there is a range of sounds key-mapped out in Patches. No other programming is included as the sounds themselves are “finished” and it is intended to give the customer the flexibility of adding their own effects and modulations if desired.

You can preview Drumalogue below:

Technical data

1000 samples at 44.1Khz, 24 bit in WAV format.
Mixture of stereo & mono samples.

Raw audio recorded from the following analogue synthesisers:

• Roland System 100-M
• Analogue Systems
• Doepfer A-100
• Analogue Solutions
• Livewire AFG
• VCS3
• Minimoog
• Metasonix TM-2 tube BP filter

Recorded directly into Apple Mac using RME Fireface 400 audio interface.

Samples edited in Bias Peak Pro 5.

Native Instruments Kontakt 2 support provided.

Recorded & produced by Ian Boddy December 2008 – March 2009.

Demo loops by Ian Boddy, Dean De Benedictis, Nigel Mullaney, Pat Mastelotto and
Bernhard Wöstheinrich.

Musikmesse 2009: Jomox introduced the MBase 11 Analog Bass Drum Module.

According to the company, the Jomox MBase11 can do only one thing, but it does it right: Phat kick drums!

It generates analog bass drums, from extremely powerful to soft and covers the whole range from 909-style to 808-fashioned. And much more…the LFO has 8 different waveforms including true sine that can be used to create very different envelopes. The resulting sounds are not simply *kicks*…this turns out to be a bass drum *synthesizer*.

If you’ve used the Jomox MBase 11, leave a comment with your thoughts!

Details:

Like the XBASE 999/888, the MBase11 has a compression parameter to vary the thickness of decaying sound.
And…it offers a variable gate time to to create very different sounding attacks.
And…it also has a metalize parameter to have hundreds of variations on the attack noise.

For more intuitive editing, we have added an analog potentiometer that works alternatively to the parameter editing when scrolling the data wheel is too hard.

The MBase11 purposefully sounds a bit different to the XBASE 999/888, making it a great sounding expansion for our other drum products and other analog percussion.

The kick sets in very precisely and the attack sounds very snappy at all kinds of sound variations.

The MBase11 can also be used as a real bass with some limitations. If decay is cranked up it is long enough for tones and the pitch can be played on the keyboard in semitones over three octaves.

The kick drum can be triggered by an external analog trigger input. This is especially useful for live drummers who want to thicken up their live drum kit. The trigger input works with regular piezo pickups or audio signals.

Last but not least: one of the most convincing arguments for the MBase11 is the price: This is an inexpensive tool that helps you to create great kick sounds, without the timeconsuming searching accociated with mostly not satisfying samples. You save time and energy while reaching the sound quality you always imagined…

Tweak the sound you need. Everything is REAL.

Bass Drum

Although the MBase11 uses almost the same principle or block schematic for analog sound production as the XBASE999/888, the technology is different and results in a slightly different sound.

• Tune Varies the pitch envelope of the VCO
• Pitch Basses as low as 10Hz reach up to 175Hz
• Decay Up to 2 sec
• Harmonics Enrichment of harmonics of the VCO – for the hardest kick drums on planet earth
• Pulse Change of the pure pulse part of the attack – gate time affects this parameter also
• Noise Change of the pure noise part of the attack – gate time affects this parameter also
• Attack Level of the mixing of Pulse and Attack
• EQ Filters the bass drum with a low pass filter – for soft and 808ish kick drums
• Gate Varies the gate time from 0.1ms to 16ms
• Compr Compression of decaying envelope – for slim and clicky kicks and all the depth that is needed
• MetNze Metalized noise. A complex digital multitone pattern of 255 different combinations feeds the attack noise

Midi

The midi controllers of the MBase11 are identical to the XB09/X999/X888/AB/JB. All parameters including LFO can be remotely controlled by midi. The MBase11 is also compatible with our midi editors and templates in the bass drum department.

LFO

The MBase11 has an LFO that works on the pitch of the bass drum.
The LFO speed can be edited in BPM or be syncronized by midi clock. As on the XB09/X999/X888/AB/JB, the LFO can be synced by a note trigger or might run free.
Another feature is: we have implemented a one-shot LFO function that serves as an additional envelope.
The wave forms are:

saw up, saw down, sine+/-, triangle+/- and rectangle+/-.

Specifications

• Instrument Bass Drum
• Presets 110 (10 User RAM, 100 FLASH)
• Sound Engine Fully analog with storeable parameters
• Envelopes Analog
• LFO 8 waveforms: Saw +/-, Sine +/-, Tri +/-, Rect +/-, modulates the pitch, midi syncroniseable
• Display LED 7-segment 3 digit
• Midi Midi In, Midi Out
• User interface 1 data wheel, 1 potentiometer, 5 buttons, 16 LEDs for parameters and functions
• Outputs 1 mono out 1/4″ RCA jack
• Output Level About 0dBu
• Input External analog trigger, sensivity adjustable
• Supply External wall wart 9V DC
• Weight About 0.5 kg, 1.1lbs.
• Size 145×155x35mm

DrumCore 3 sports a new “Sunburst Finish” user interface, over twice as much content and is now a plug-in.

DrumCore gives songwriters and composers access to grooves and instrument sounds of over a dozen famous drummers and percussionists. It includes a library of both audio loops and MIDI grooves plus a software drum instrument for Mac and PC.

DrumCore covers a multitude of styles – including rock, blues, country, metal, prog, alt-rock, pop, jazz, urban, funk, Latin, reggae and others.

In addition to turning DrumCore into a plugin, Submersible Music is including a tool that lets you import your own loops, making this a really transformative upgrade.

If you’ve used DrumCore 3, leave a comment with your thoughts!

Details below.

Changes in DrumCore 3

• New “Sunburst Finish” Interface — DrumCore v3 features a new “sunburst” user interface with a number of enhancements. Now it’s even easier to search and audition the vast number of grooves in DrumCore using List View in the updated Groove Browser. Creating more authentic drum parts is easier as content is arranged into song-like GrooveSets, that group related loops, fills and variations together. New v3 content features a larger number of intros and endings in addition to the usual verse/chorus variations. It supports searching via metadata that includes drummer, musical style and “Feel” including shuffle, swing, 1/8th, 1/16th, etc. Drag and drop export of audio and MIDI to a track is supported with all popular music/recording applications (including Acid, Cubase, DP, GarageBand, Live, Logic, Pro Tools, Reaper, Sonar, Traction, etc.).
• Vastly Expanded “Basic Beats”, Urban and Jazz Sections — A huge selection of bread-and-butter songwriting beats have been added plus expanded jazz content featuring Seattle jazz drummer Gregg Keplinger (http://www.greggkeplinger.com). Submersible’s popular “Urban GT” expansion pack ($49 value) is now included, which features classic hip-hop and modern R&B MIDI grooves plus 24 subwoofer-slammin’ drumkits.
• Matt Cameron (Soundgarden), John Tempesta (Testament) and Stephen Perkins (Jane’s Addiction) Content — Included with v3 are drumkits and grooves from Seattle rock/alternative legend Matt Cameron (Soundgarden, Pearl Jam), all of the TempestaPack II expansion pack ($79 value) featuring smoldering metal drummer John Tempesta (Rob Zombie, Testament, Helmet) and new grooves by Jane’s Addiction drummer Stephen Perkins.
• “LiveDrummer” Technology — The LiveDrummer DrumCore 3 MIDI engine enhancements provide greater realism for drum rolls and cymbal performances. Tired of “machine gun” playback? Grab the LiveDrummer slider and get more dynamics into your groove!
  RTAS/AU/VSTi Compatible — DrumCore v3 is now a plug-in for easier integration with all the popular recording applications.
• DrumCore Toolkit — DrumCore Toolkit is a standalone application that can be used for importing your audio and MIDI loop libraries as well as for building drumkits using WAV or AIFF files. It is also great jamming with the grooves in DrumCore or for using live with a controller.
• Drummers — DrumCore includes content by these great drummers: Ben Smith (Heart), John Bishop (Ernie Watts), Terry Bozzio (Jeff Beck, Zappa). Matt Sorum (Velvet Revolver), Tony Braunagel (Bonnie Raitt), Ned Douglas (Dave Stewart,), Sly Dunbar (Bob Marley), Michael Shrieve (Santana), Alan White (John Lennon, Yes), Matt Cameron (Soundgarden, Pearl Jam), John Tempesta (Rob Zombie), Stephen Perkins (Jane’s Addiction), Lonnie Wilson (Brooks & Dunn, Rascal Flatts), Luis Conte (Clapton, Sergio Mendes) Zoro (Lenny Kravitz) and others. Even more drummer content is available via “DrummerPack” expansion libraries.

DrumCore 3 is available for $249 USD (The current DrumCore version costs $199 USD, the upgrade to DrumCore 3 is $50 USD).

This is a demo of RealDrums for iPhone. For this video was a background track played back via the iPod feature of the iPhone and the drums were played live at the same time.

via ArminSZ:

This video starts out pretty horrible. Then it goes downhill.

Everything about the video seems bad: the filming, the script and the rock ‘n’ roll rhythm demo guy.

“This is rock and roll!”

But then something interesting happens.

The Creative demo guy gets his freak on and does an Inagaddadavida on the keyboard that will make your eyes pop out of your head and bounce off your computer screen.

Did this guy foreshadow the controllerism movement? You make the call.

Let me know what you think of Creative’s Drums On Keyboard!

via weegmaster

Ryan Gruss

Here’s an example:

Today’s loop is dedicated to Richard Starkey aka Ringo Star. Ringo was the drummer in an underground pop band from the 60’s called The Beatles. I highly recommend going to your local vinyl shop and digging for some of their albums.

Why am I dedicating this to Ringo? Because Ringo came up with the ingenious idea of placing towels on top of his drums when recording in the studio. This technique resulted in the signature “Ringo sound” which was prevalent in their later albums; flat, punchy and ultra compressed. It is also my guess that Ringo used these towels to dry himself when playing drums on the beach. Talk about resourceful.

I took Ringo’s towel technique and ran with it on this one. Using close mic’ing on all of the drums, I cranked up the compressor and panned the toms hard left and right. Finally, I pulled out the bit-crusher and smashed things up a bit. The final result: This sounds absolutely nothing like Ringo but more like something Pharrell would produce after spilling Moët all over the console. Yet again, another reason to have towels in the studio.

Here’s the “Towels” loop:

I like Ryan’s approach. By giving you the story behind his drum loops, he creates an image in your mind that might inspire a new musical tangent. 

Let me know what you think! And, if you know of other great drum loop sites, leave a comment. 

via Oliver Chesler, image stephcarter

In this demo video, from KeyfaxNewMedia’s Drum Programming Secrets DVD, Dave Polich shows you how to play drum beats on your keyboard in the style of Keith Moon.

As far as I know, Keith Moon never did any drum programming – but, Polich’s take on it is still pretty impressive to see.