Ritchie Hawtin, John Acquaviva and a small group called Liine have created an Ableton specific iPad controller called Griid. It looks interesting. I’m usually sweating and holding a microphone on stage but I am constantly running back behind the laptop to adjust and control things. A small sturdy stand at the very front of the stage with the iPad and Liine or touchAble on could be a solution. Who knows with one of those OtterBox Defender cases maybe I wouldn’t need the stand. I could just carry and leave the iPad various places on stage like I do with my mic sometimes. I’m going to try out Griid this weekend although I’m still a little skeptical. I do think eventually something like this will work but we are not quite there yet. Maybe I’m wrong? Let me know if you tried Griid out.
“Griid is an advanced clip grid interface which allows you to control Ableton Live (running on your desktop or laptop) from your iPad, iPhone or iPod Touch. Using specially developed touch objects and simple gestures, Griid is carefully designed with the performance experience in mind. Finely tuned for rapid navigation, you can enjoy the freedom of playing Live sets of any size with ease. Explicit visual feedback means that you have all the information you need, quite literally at your fingertips. Combined with wireless operation, this means you can perform with Ableton Live without ever needing to look at the computer screen.” – http://liine.net/
Here’s some music I recorded for a German female producer. It’s in her court to add vocals for this and send it back to me. You’re hearing two slightly detuned Yamaha CS5 lines. Both are going through D16 Devator’s. You also hear white noise from the CS5 modulated through Ableton’s Auto-Pan. Assorted booms are my own recordings and swing is up.
That’s the reason Ableton Live is the best production tool: different modes. I can use Live in Arrangement View and work like I did years back in Cubase and Pro-Tools. I can use Live in Session View and have a play/scratch area to let ideas explode or just build the parts Im going to use in Arrangement View. I can use Live when I’m on stage triggering video and controllers. I’ve almost never had Live crash in the studio and never once on stage. Yep this is an advert except I didn’t get paid for it. Just saying thanks for something I use a lot. We tend to worship the tools that make us sound good (and make us money!). To people who aren’t convinced there is a fully functioning free trial of Live (no saving).
“Ableton Live is about making music; for composition, songwriting, recording, production, remixing and live performance. Live’s nonlinear, intuitive flow, alongside powerful real-time editing and flexible performance options, make it a unique studio tool and a favorite with live performers. If you’d rather be “making music” than just “using music software,” Ableton Live is for you.” – ableton.com
For those who like there music making with a heavy click swing, deep bass and the flavor of Berlin.
“The Live Sets were made exclusively for Ableton by ten artists from the Minus roster. Each Set comes with a companion Lesson that reveals insights into the artist’s musical vision and offers valuable production tips. Includes material from: Click Box, Hobo, Heartthrob & Troy Pierce, Magda, Marc Houle, Fabrizio Maurizi, Barem, Ambivalent, JPLS and Gaiser. This Live Pack requires Live 8.1.3 or higher. To install the Pack, download it, unzip it and double-click the .alp file. You’ll then be asked where to save the contents of the Pack.”
Here’s a quick beginner tip that may save you from loosing a sound. If your using hardware and you want to remember what patch you are using label your Ableton clip with the same patch number! Some hardware will respond to a MIDI Program change. In Ableton double click a MIDI clip to enter Clip View and in the Notes section you will see Bank, Sub-Bank and Program. That’s where you can pick and save the corresponding hardware’s patch number.
When I used DR. T’s KCS and a Roland Juno-106 I would create a sound then slightly change it, save it over 16 patch locations and then have DR. T’s cycle through each patch using Program Change messages. With different filter settings saved in each Patch the Juno sounded like a more expensive synth. Imagine old school Depeche Mode arpeggio patterns with filters opening and closing. It was a pain to set up but worth it in the end.
What musician didn’t want a Jazzmutant Lemur? What musician could actually afford one? Luckily technology marches forward and brings goodness to the masses and the midipad for iPad is a good example. There will be different views to start you off such as studioView, djView, launchView, fxView and keysView. The concept is futuristic fun but will I really want to use it in my studio? I like to move as fast as possible between brain and sound. How about live then? I can manage to use my iPhone while on my elliptical trainer so sweaty fingers won’t be a problem. I do know I’m definitely going to try it out!
“The striking feature of midipad is its ability to directly communicate via network-MIDI-protocol. So there is no need to install any communication-peer-software on the Mac! Simply plug-and-play via Apple Bonjour – wireless. This multitouch-capable midi-controller-application communicates with your Apple Mac your Windows-based PC and even standalone hardware-synths via Wifi.” – midipad.de
It’s interesting to peak into someone’s left brain meets right brain work flow. You can pick up a few Ableton tips and tricks in this video and see how pushing pixels turns into sound.
“So in this tutorial i have used Ableton’s Simpler, Arpeggiator and utility to create some complex beats out of simple ones. The idea here is you don’t have to program everything by hand if your more into the idea of chance music or your just lazy or want to control things in a different way!” – Bill Day
I never knew that dragging a audio selection onto a MIDI track would automatically create a Simpler with the audio set up. Did you learn anything new?
I like these type of online music tech shows so I hope The DSP Project gains many episodes. I use this reverse reverb effect quite often. Sometimes I add a distortion unit after the reverb to really make the effect scream. Definitely check out my post: The Kick Boom, Thunderverb song writing element.
“In this episode I will show you how to create the reverse reverb effect in Ableton live (but technique can be used in any DAW) and put it into context by using it in a real project.” – Rupert Brown
Take Ableton’s Session View and mirror it inside Serato’s digital turntable interface and you have what the two companies call “The Bridge”. Every month or so I power up Traktor and make a mix for the car/gym. Considering my Ableton Live addiction I think I’m going to have to give this a shot.
“Huston from Ableton and Nick from Serato go through The Bridge – a new technology allowing communication between Ableton Live 8 and Serato Scratch Live” – SeratoHQ