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Indian E-music – The right mix of Indian Vibes… » Ableton-Live


Datalooper lets you play Ableton Live with your feet

Delivered... Peter Kirn | Scene | Thu 15 Nov 2018 5:27 pm

It’s a looper, it’s a Session View controller. It’s USB powered, and you play it with your feet. But unlike other options, Datalooper integrates directly with how you work in Ableton Live – and it doesn’t require Max for Live to operate. Here’s a first look – and an exclusive discount.

http://www.datalooperpedal.com/cdmspecial

Ableton may have called their event “Loop,” but that doesn’t mean there’s an obvious way to control the software’s looping capability via hardware out of the box. And that’s essential – Ableton Push is great, but it doesn’t fit a lot of instrumental and vocal uses. It’s too complicated, and involves too much hand-eye coordination – stuff you want to focus elsewhere. I’m not sure what Ableton would have called their own foot hardware – Ableton Tap? Ableton Toes? But instead, users have been stepping up … sorry, unintentional pun … and giving Live the kind of immediacy you’d expect of a looper pedal.

Demand seems higher than ever – there were two projects floating around Ableton Loop in LA last week. I covered State of the Loop already:

Ableton Live Looping gets its own custom controller

That project focused mainly on the Looper instrument and the use of scenes, all via Max for Live. It also seems well suited to running a lot of loopers at once.

Datalooper – the work of musician/creator Vince Cimo – is a similar project, but finds its own niche. First off, Max for Live isn’t required, meaning any edition of Live will work. (It uses a standard Live Control Script to communicate with Live.)

We got hands-on with Datalooper at Ableton Loop this year.

Datalooper will use the Looper device if you want. In that mode, it’s basically a controller for the Looper instrument – and supports up to three at once by default (which will be enough for most people anyway).

But there’s not much difference between the Looper device and other plug-ins or dedicated looping tools. “Natively” looping in Live still logically involves Session View. Before Ableton had a Looper, the company would advise customers to just record into clips in the Session View. That’s all fine and well, except that users of hardware pedals were accustomed to being able to set a tempo with the length of their initial recording, so the loop kept time with them instead of having to adjust to an arbitrary metronome.

Datalooper does both. You can use Session View, taking advantage of all those clips and arrangement tools and track routing and effects chains. But you can also use the looper to set the tempo. As the developers describe it:

If you long press on the clear button, the metronome will turn off, and the tempo will re-calculate based on the next loop you record, so you can fluidly move between pieces without having to listen to a click track. Throughout this process, the transport never stops, meaning you can linearly record your whole set and capture every loop and overdub in pristine quality.

Datalooper is also a handy foot-powered control system for working with clips in general. So even if you weren’t necessarily in the market for a looper or looper pedal, you might want Datalooper in your studio just to facilitate working quickly with clips.

(And of course, this also makes it an ideal companion to Ableton Push … or Maschine with a Live template, or an APC, or a Launchpad, or whatever.)

Session Control mode lets you hop in and record quickly to wherever you wish. I imagine this will be great for improvisation not only solo but when you invite a friend to play with you.

For users that are more familiar with the clip system, the Datalooper also features a ‘session control’ mode, built to allow users to quickly record clips. In this mode, the Datalooper script will link up with a track, then ‘auto-scan’ and latch on to the first unused clip slot. You can then use the first the buttons in a row to control the recording, deletion and playback of the clip. Best of all, when you want to record another clip, you can simply press record again and the script will find you another unused clip slot. This is a game-changer if you’re trying to quickly record ideas and want your hands free.

Videos:

You get all of this in a nice, metal box – die-cast aluminum, weighing 3 lbs (1.4 kg), micro USB bus-powered standard MIDI device. The onboard LEDs light to show you status and feedback from the metronome.

By default, it uses three loopers, but all the behaviors are customizable. In fact, when you want to dive into customization, there’s drag-and-drop customization of commands.

A graphical controller editor lets you customize how the Datalooper works. This could be the future of all custom control.

US$199 is the target price, or $179 early bird (while supplies last). It’s now on Indiegogo; creator Vince Cimo needs enough supporters to be able to pull the trigger on a $10k manufacturing run or it wont’ happen.

Vince has offered CDM readers a special discount. Head here for another $20 off the already discounted price:

http://www.datalooperpedal.com/cdmspecial

(No promotional fee paid for that – he just asked if we wanted a discount, and I said sure!)

Having gotten hands on with this thing and seen how the integration and configuration works … I want one. I didn’t even know I wanted a pedal. I think it could well make Live use far more improvisatory. And the fact that we have two projects approaching this from different angles I think is great. I hope both find enough support to get manufactured – so if you want to see them, do spread the word to other musicians who might want them.

The post Datalooper lets you play Ableton Live with your feet appeared first on CDM Create Digital Music.

Ableton Live Looping gets its own custom controller

Delivered... Peter Kirn | Scene | Thu 8 Nov 2018 12:45 am

A crowd-funded custom controller has just arrived on the scene, designed to assist live triggering and looping in Ableton Live. And there’s already a free download for Max for Live to get you started, even without the hardware.

Hardware like Ableton’s Push lets you play Live with your fingers – but what about your feet? (Ableton Sole?) And what about looping? Pierre-Antoine Grison, Ableton Certified Trainer and producer/musician signed to Ed Banger Records, has come up with his own solution – just in time to show it this weekend at Ableton’s aptly-titled Loop “summit for music makers.” “State Of The Loop” is a custom MIDI controller for Ableton Live’s built-in Looper device.

The Looper in Ableton Live has been around for a few versions, after loads of requests from users. It delivered the kind of looping workflows you’d expect form a looping pedal. But that doesn’t mean everyone knows how to use it, or use it effectively. There are some nice resources online, including:

Ableton Looper Cheat Sheet (Free Download) [Beat Lab Academy]

Ableton Live Devices – How To Use Live Looper [Loopmasters.com articles]

and a ton of tips here:
http://looping.me.uk/category/ableton/

The stomp-style hardware controls not only the Looper device itself but also scenes. So it works for both controlling entire sets and for pedal-style looping, and you can use multiple (software) loopers so you can layer using different on-screen devices.

Features:

Display and control the state of Live’s Looper
Unlimited number of loopers !
2 Expression Pedal inputs with “dynamic mapping”
Scenes Mode to launch Scenes and display their color and name
Sturdy metal case
100% Made in France
USB or MIDI connection for longer distances (up to 15m/50ft)
USB powered
Very light on the CPU
Easy configuration
Weight : 1.7 kg / 3 lb
WxLxH : 30 x 13 x 6 cm / 12 x 5 x 2.5 inches

There’s even a free download that adds some features Ableton Live forgot – the equivalent of follow actions for scenes, plus a heads-up display so you can see what’s happening without hunching over your computer screen. (Seriously, Ableton, those belong as standard features in Live!)

You can use that download as long as you have a compatible version of Live and Max for Live; no hardware needed.

http://kblivesolutions.com/wp-content/uploads/2018/11/Scene-Launcher.zip

Dig this custom version too:

Pricing starts at 240EUR for an “early bird” price, 260EUR after that. (There’s also a 350EUR limited edition still available as I write this).

Project info on Kickstarter:

http://kck.st/2SH5gJE

The post Ableton Live Looping gets its own custom controller appeared first on CDM Create Digital Music.

Free Snare Designer for Ableton Live, Logic, and Kontakt

Delivered... Peter Kirn | Scene | Fri 2 Nov 2018 8:25 pm

If you’re obsessive about snares, this free download is for you. If you totally haven’t been thinking about snares at all, and want to let someone else obsess about it for you, this download is also for you. Meet Snare Designer.

Sound and sample house Puremagnetik has been doing sound design right back to the early days of Ableton Live. Now you get a couple hundred megabytes of acoustic snares to mess around with, whether you’re in Live, Logic, or Kontakt. You’ll need Live 10 or the full version of Kontakt 5 or Logic 10.4 to use the tailored versions, though if you’re willing to put in a little more work, you can also work with the raw samples directly.

With the full versions, you get some clever features that make this more usable. In Live and Kontakt, you can select direct, overhead, room, and “trashcan” mics via a graphical UI. Logic uses Track Stacks for those different microphones.

And you get some nicely chosen drums: the 60s Ludwig Acrolite, Mapex Birch, and Pork Pie Squealer. I don’t know anything about drums and even I know those.

Give up your email address (opt in, natch) for the download:
https://puremagnetik.com/products/free-snare-drum-pack-ableton-live-kontakt-logic

The post Free Snare Designer for Ableton Live, Logic, and Kontakt appeared first on CDM Create Digital Music.

Novation’s SL MkIII has it all: sequencer, CV, MIDI, software control

Delivered... Peter Kirn | Scene | Wed 10 Oct 2018 5:45 pm

One upon a time, there was a Novation keyboard called the ReMOTE SL. That’s as in “remote control” of software. Times have changed, and you’ve got a bunch of gear to connect – and you may want your keyboard to work standalone, too. So meet the SL MkIII.

The additional features are significant enough that Novation is dropping the “remote” from the name. Now it’s just SL, whatever those letters are meant to stand for.

The story here is, you get a full-featured, eight-track sequencer – so you no longer have to depend on a computer for that function. And Novation promise some higher-spec features like expanded dynamic range (via higher scan rate). With lots of keyboards out there, the sequencer is really the lead. Circuit just paid off for keyboardists. Novation gets to merge their experience with Launchpad, with Circuit, with Web connectivity, and with analog and digital gear.

Features:

  • The 8-track, polyphonic sequencer is both a step and live sequencer, it records automation, and you can edit right from the keyboard.
  • Arpeggiator onboard, too.
  • USB, MIDI in, MIDI out, second MIDI thru/out
  • Clock/transport controls for MIDI and analog, which also run standalone – route that to whatever you like.
  • Three pedal inputs
  • Eight faders and eight knobs, handy for mixing (there’s DAW support for all major DAWs, plus dedicated Logic and Reason integration)
  • Color LCDs
  • RGB everything: yep, over the keys, but also color-coded RGB on the pitch and mod wheel as track indicators. (I’m waiting for someone to release a monochromatic controller. You know it’s coming … back.)
  • Those RGB pads are not just velocity sensitive, but even have polyphonic aftertouch (more like higher-end dedicated pad controllers)
  • Cloud backup/restore of templates and sessions – a feature we saw unveiled on Novation’s Circuit

And of course there’s more mapping options with their InControl software and Mackie HUI support.

(Some notes from the specs: you do need separate 12V power, so you can’t use USB power. I don’t have weight notes yet, either.)

Novation must know a lot of their customer base use Ableton Live, as they’re quick to show off how their integation works and why those screens are handy.

Here it is in action:

We also see some cues from Native Instruments’ keyboards – the light guide indicators above the keys are copied directly, and while the pads and triggers are all Launchpad in character, we finally get a Novation keyboard with encoders and graphic displays. Unlike NI, this keyboard is still useful when the computer is shut off, though.

And wait – we’ve heard this before. It was called the AKAI Pro MAX25 and MAX49 – step sequencer built in (with faders and pads), plus MIDI, plus CV, plus remote control surface features. You just had to learn to like touch strips for the faders, and that garish racecar red. That AKAI is still worth a look as a used buy, though the hardware here is in a more standard layout / control complement, and a few years later, you get additional features.

The big rival to the Novation is probably Arturia’s KeyLab MKII. It also strikes a balance between studio hub and controller keyboard, and it comes from another maker who now produces analog synths, too. But the Novation has a step sequencer; Arturia makes step sequencers but left it out of their flagship controller keyboard.

Oh yeah, and if you just wanted an integrated controller keyboard for your DAW, Nektar have you covered, or of course you can opt for the Native Instruments-focused Komplete Kontrol. Each of those offerings also got revisions lately, so I’m guessing … a lot of people are buying keyboards.

But right now, Novation just jumped out to the front of the pack – this keyboard appears to tick all the boxes for hardware and software. And I’ll bet a lot of people are glad to do some sequencing without diving into the computer. (Even alongside a computer for tracking, that’s often useful.)

£539.99 49 keys; £629.99 61. (Both share the same layout.)

https://novationmusic.com/keys/sl-mkiii

What keyboard strikes your fantasy at the moment? What do you want a keyboard to do for you? Let us know in comments.

The post Novation’s SL MkIII has it all: sequencer, CV, MIDI, software control appeared first on CDM Create Digital Music.

Control all of Ableton from iOS, Android, Windows: touchAble Pro

Delivered... Peter Kirn | Scene | Fri 5 Oct 2018 1:13 pm

Ableton Live: lug along hardware, or … be forced to use a mouse or touchpad. No more: touchAble Pro continues to unlock more and more of Live’s functionality, and now it’s available across touch platforms – iOS, Android, Windows.

That last bit in itself is already news. iPad owners have had plenty of great stuff, but … what if you’ve got an Android phone instead of an iPhone? Or a Microsoft Surface? Or what if you want controls to jam on a big touchscreen display – in the studio, for instance?

It’s possible to target all three of those platforms; the fact many developers haven’t tells you they haven’t yet figured out the business case. But with Ableton Live a massive platform, numbering millions of active users, and use cases that focus on making things happen, uh, “live,” the touchAble devs could have a winner.

And whichever platform you choose, there’s simply no way to put this much control of Ableton Live at your fingertips, with this much visual feedback. We covered this release in full earlier:

touchAble Pro for Ableton Live: touch control on iOS, Android, Windows

But here’s a recap of why it’s cool, whether you’re a returning user or new to the platform:

Piano Roll editing (top), and custom Devices (bottom).

New:

  • Audio clip view with waveforms, including side-by-side waveforms
  • Piano roll view for pattern editing
  • Draw and edit automation
  • Track I/O
  • Custom layouts with Template Editor
  • Custom Device templates (even with third-party plug-ins and Max for Live, via an In-App Purchase coming soon)

And this matters. Now you can quickly whip up a custom template that shows you just what you need to see for a live performance – without squinting (it’s all scalable). Add in side-by-side waveforms to that, and you could twist Live into a DJ tool – or certainly a more flexible live performance tool, especially if you’ve got other instruments or vocals to focus on.

Plus a lot of other good stuff:

Transport, metronome, cues, and quantization
Clips and scenes and control looping
Arm, mute, and solo tracks
Adjust monitoring
Mix, pan, crossfade, and control sends and returns
Play instruments with grid or piano-style layouts, with scales, note repeat, aftertouch, and velocity (based on finger position)
Control device parameters, using faders or assignable X/Y pad modules
X/Y Pad: assign physics, make and morph snapshots or record full gestures,
Navigate Live’s Browser, and drag and drop Devices or Samples to the set

Enlarge stuff – like this clip overview – and make the custom layout you need.

Side by side waveforms, and a bunch of clip options. Oh yeah.

Touch on Windows isn’t just about devices like Surface – it’s also big touch-equipped displays, so ideal for studio work.

Three new videos are out now to walk you through how it’s all working.

More:
http://www.touch-able.com

The post Control all of Ableton from iOS, Android, Windows: touchAble Pro appeared first on CDM Create Digital Music.

Free pack of sounds from the Polish Radio Experimental Studio

Delivered... Peter Kirn | Scene | Tue 2 Oct 2018 3:53 pm

Think of it as the BBC Radiophonic Workshop of the east: the Polish Radio Experimental Studio produced unparalleled electronic sounds and inventions for decades. Recognition of those accomplishments is growing – and now Ableton are collaborating to produce a free pack of sounds and tell the PRES story.

Vital stats on this project:

Who’s behind this: Poland’s national cultural institution Instytut Adama Mickiewicza (IAM) commissioned the library from Ableton and contributors.

Where do the sounds come from: Works made at the studio by composers Krzysztof Knittel, Elżbieta Sikora, and Ryszard Szeremeta, 1970s-80s, comprise the original sound material.

Who built the pack: Project coordinator Michal Mendyk worked with Ableton Certified Trainer Marcin Staniszewski.

What’s in there: 300 sounds, loops, and effects organized into Drum Racks, plus custom Effect Racks, all pre-mapped with macros (making them easy to use with Push or other controllers)

Check out the pack and a full article on the studio and its history at Ableton’s site (plus more on Marcin Staniszewski and his music):

Sounds from the Polish Radio Experimental Studio

Lots more links there, but the history to me is the most compelling. Paralleling the hot-and-cold relationships of experimental sound and music technology in East Germany and the Soviet Union in the same period, there was a precarious relationship of electronic sound to the government in Communist Poland. Michal Mendyk tells the story of studio founder Józef Patkowski to Ableton:

Paradoxically, a couple of years earlier, it was Sokorski who introduced social realism and radical political and aesthetical censorship in Polish art and culture. He was famous for having said about Witold Lutosławski, one of the leaders of Polish music vanguard that “he should be thrown under a tram”. So, in 1957 the same guy was responsible for creating the most experimental music centre in the whole Eastern Europe! He later said that Polish Radio Experimental Studio was his way to redeem his previous sins. This is one of many example of how paradoxical cultural and intellectual life in an authoritarian system can be.

Here’s a great documentary on the studio:

And for an imaginative take on the studio’s work, see our previous story:

The retro-futuristic Apparatum draws from Polish electronic music history

Plus more on the ongoing legacy in Poland:

This 1971 Dancing Rectangle from Poland Predicts Modern Techno, AV

Live techno after Polish punk and communism: Dyktando of Brutaż

The post Free pack of sounds from the Polish Radio Experimental Studio appeared first on CDM Create Digital Music.

Max 8: Multichannel, mappable, faster patching is here

Delivered... Peter Kirn | Scene | Tue 25 Sep 2018 8:15 pm

Max 8 is released today, as the latest version of the audiovisual development environment brings new tools, faster performance, multichannel patching, MIDI learn, and more.

Max is now 30 years old, with a direct lineage to the beginning of visual programming for musicians – creating your own custom tools by connecting virtual cables on-screen instead of typing in code. Since then, its developers have incorporated additional facilities for other code languages (like JavaScript), different data types, real-time visuals (3D and video), and integrated support inside Ableton Live (with Max for Live). Max 8 actually hits all of those different points with improvements. Here’s what’s new:

MC multichannel patching.

It’s always been possible to do multichannel patching – and therefore support multichannel audio (as with spatial sound) – in Max and Pure Data. But Max’s new MC approach makes this far easier and more powerful.

  • Any sound object can be made into multiples, just by typing mc. in front of the object name.
  • A single patch cord can incorporate any number of channels.
  • You can edit multiple objects all at once.

So, yes, this is about multichannel audio output and spatial audio. But it’s also about way more than that – and it addresses one of the most significant limitations of the Max/Pd patching paradigm.

Polyphony? MC.

Synthesis approaches with loads of oscillators (like granular synthesis or complex additive synthesis)? MC.

MPE assignments (from controllers like the Linnstrument and ROLI Seaboard)? MC.

MC means the ability to use a small number of objects and cords to do a lot – from spatial sound to mass polyphony to anything else that involves multiples.

It’s just a much easier way to work with a lot of stuff at once. That was present in open code environment SuperCollider, for instance, if you were willing to put in some time learning SC’s code language. But it was never terribly easy in Max. (Pure Data, your move!)

MIDI mapping

Mappings lets you MIDI learn from controllers, keyboards, and whatnot, just by selecting a control, and moving your controller.

Computer keyboard mappings work the same way.

The whole implementation looks very much borrowed from Ableton Live, down to the list of mappings for keyboard and MIDI. It’s slightly disappointing they didn’t cover OSC messages with the same interface, though, given this is Max.

It’s faster

Max 8 has various performance optimizations, says Cycling ’74. But in particular, look for 2x (Mac) – 20x (Windows) faster launch times, 4x faster patching loading, and performance enhancements in the UI, Jitter, physics, and objects like coll.

Also, Max 8’s Vizzie library of video modules is now OpenGL-accelerated, which additionally means you can mix and match with Jitter OpenGL patching. (No word yet on what that means for OpenGL deprecation by Apple.)

Node.JS

This is I suspect a pretty big deal for a lot of Max patchers who moonlight in some JavaScript coding. NodeJS support lets you run Node applications from inside a patch – for extending what Max can do, running servers, connecting to the outside world, and whatnot.

There’s full NPM support, which is to say all the ability to share code via that package manager is now available inside Max.

Patching works better, and other stuff that will make you say “finally”

Actually, this may be the bit that a lot of long-time Max users find most exciting, even despite the banner features.

Patching is now significantly enhanced. You can patch and unpatch objects just by dragging them in and out of patch cords, instead of doing this in multiple steps. Group dragging and whatnot finally works the way it should, without accidentally selecting other objects. And you get real “probing” of data flowing through patch cords by hovering over the cords.

There’s also finally an “Operate While Unlocked” option so you can use controls without constantly locking and unlocking patches.

There’s also a refreshed console, color themes, and a search sidebar for quickly bringing up help.

Plus there’s external editor support (coll, JavaScript, etc.). You can use “waypoints” to print stuff to the console.

And additionally, essential:

High definition and multitouch support on Windows
UI support for the latest Mac OS
Plug-in scanning

And of course a ton of new improvements for Max objects and Jitter.

What about Max for Live?

Okay, Ableton and Cycling ’74 did talk about “lockstep” releases of Max and Max for Live. But… what’s happening is not what lockstep usually means. Maybe it’s better to say that the releases of the two will be better coordinated.

Max 8 today is ahead of the Max for Live that ships with Ableton Live. But we know Max for Live incorporated elements of Max 8, even before its release.

For their part, Cycling ’74 today say that “in the coming months, Max 8 will become the basis of Max for Live.”

Based on past conversations, that means that as much functionality as possibly can be practically delivered in Max for Live will be there. And with all these Max 8 improvements, that’s good news. I’ll try to get more clarity on this as information becomes available.

Max 8 now…

Ther’s a 30-day free trial. Upgrades are US$149; full version is US$399, plus subscription and academic discount options.

Full details on the new release are neatly laid out on Cycling’s website today:

https://cycling74.com/products/max-features?utm_source=press&utm_campaign=max8-release

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touchAble Pro for Ableton Live: touch control on iOS, Android, Windows

Delivered... Peter Kirn | Scene | Thu 23 Aug 2018 7:12 pm

touchAble was already the benchmark app for controlling Ableton Live from an iPad. Now touchAble Pro has been recoded from the ground up with new features like custom layouts and waveform views – and it supports iOS, Android, and Windows touch, too.

Berlin developers Zerodebug are announcing a beta today for their new app, touchAble Pro. And so we get a first look at what they’ve been up to. The software sports a new, cleaner UI, but also comes a lot closer to being Ableton Live with complete touch support – or at least as close as you can get with the APIs Ableton make available.

You can edit patterns with an overhauled piano roll view, and audio clips using a waveform display.

There are new layouts, letting you view modules side by side or fullscreen.

You can draw in or edit automation inside clips.

It’s really starting to look like the touch app Ableton forgot, complete with full device support (including those pretty new Live 10 graphics), and even little details like being able to access I/O setting on channels right inside the app.

Plus, you can customize exactly the layout you need, which means touchAble shines for live performance. Years ago, I caught the early live show by Glitch Mob, all on original JazzMutant Lemur hardware (that is, before the iPad was released). They were able to make giant buttons so they could trigger stuff in Live without distracting from a live drum routine. You can do that with this if you want – or any number of other layouts. Need specific clip triggers, huge? Want a particular mixer or clip launch layout? Draw it right on the device.

Watch:

The limitations of touchAble really come down to limitations of Ableton Live itself – connectivity with external devices, Live’s archaic scripting installation, and restrictions on the API. touchAble Pro is a good demonstration of why it’d be great to see Ableton add a complete API for their Arrangement View, in particular – even if that doesn’t make sense on their own Push hardware. But that said, this works. (I can’t evaluate final stability, because I’ve only had a pre-beta build, but it’s definitely promising.)

Initial pricing: US$29.99.

Nice Live 10 support, but Live 9 is also compatible.

http://touch-able.com

That’s actually touchAble Pro running on Windows – giant touchscreen, go!

The post touchAble Pro for Ableton Live: touch control on iOS, Android, Windows appeared first on CDM Create Digital Music.

Free Ableton Live add-ons will f*** up your mixes and insult you

Delivered... Peter Kirn | Scene | Wed 22 Aug 2018 5:18 pm

That headline isn’t a mistake. If you’ve ever wanted a plug-in to f*** up your mixes, sabotage you, insult you, or “get passive aggressive,” this free collection of Max for Live Devices is for you.

Not to completely spoil the results here, but as I write this, my screen is covered with virtual bees. I cannot make the bees go away. I thought the “bees” instrument was going to make some sounds, but instead it has brought bees onto my screen, both inside and outside Ableton Live.

That’s the sort of results you can expect from Really Useful Plugins.

ru.bomb will take your mix and completely f*** it up, as my headline promises.

ru.no is basically an onscreen version of the nagging doubts inside your head.

Sad.

That is way too much f***ing reverb.

And that’s just the beginning.

Simon Kitmine and David Synth bring you 12 instruments, audio effects and midi effects for Ableton Live, featuring:

Insults!
Games!
Bombs!
Self importance!
Sabotage!
Ways to magically sound like everyone else!
The Chuckle Brothers!
Annoying insects!
Exploration!
Passive aggression!

Really Useful Plugins Set #1 now available!

How much would you pay for such a collection? $99? $299? $999 for a multi-seat license? Well, it’s … free, for some reason. (Can’t imagine why. Free as in bees. Erm, beer.)

Max for Live is required, so Live Suite or Live with the M4L add-on. I’ve said before that’s worth it. Now, there’s no doubt.

You know, it really is too much reverb.

Sigh.

PS, if you appreciate this kind of insight, definitely check out #gothscreenshots:

https://www.instagram.com/goth_screenshots/

It’s the curated collection of digital artist Sougwen, who has also participated at Ableton Loop, bringing this all full circle.

By the way, if you were disappointed that those bees aren’t making any sound, I give you this free download from the Reaktor User Library:

Insect Invasion

The post Free Ableton Live add-ons will f*** up your mixes and insult you appeared first on CDM Create Digital Music.

Watch an Ableton Live sequence made physical on the monome grid

Delivered... Peter Kirn | Scene | Mon 6 Aug 2018 6:05 pm

The monome made history by transforming the virtual world of the computer into a low-fidelity grid of lights and buttons. But it’s no less magical today – especially in the hands of stretta.

Watch:

Matthew Davidson has been an innovative developer of patches for the monome since its early days. And that’s a principle innovation of the hardware: by reducing the “screen” to a minimal on/off grid, and lighting buttons independently from your input, the monome becomes a distillation of the ideas in a particular computer patch. Just like a fretboard or the black and white keys of a grand piano, a music box roll or the notes on a staff, it’s an abstraction of the music itself. And its simplicity is part of its power – a simplicity that a mouse and a high-definition color display lack.

Matthew is using some features the first-generation monome didn’t have – the varibright lights, and a recommended 128-format grid. But otherwise, this riffs on the original idea.

And remember last week when we covered Berkelee College of Music introducing study of electronic instruments? Well, Davidson has developed a whole series of these kind of clever inventions as a set of studies in grid performance.

That is, the choice of Bach is fitting. This is classical grid from a virtuoso, a Well-Tempered Monome if you like.

Check out the full gridlab collection:

https://github.com/stretta/gridlab

Previously:

What do you play? Berklee adds electronic digital instrument program

Updated: so what about other grids?

Via social media, Matthew Davidson elaborates on why this setup requires the monome – which still says a lot about the uniqueness of the monome design:

First up is 64 buttons versus 512. It’ll work on a 128 kinda, barely, but it is awkward. An implementation of a fold mode might make that useable.

Second is the protocol. The monome protocol provides the ability to update a quadrant with a simple, compact message. This is what is used to achieve the fluidity. If you want to update the entire grid of a Launchpad, you have to send 64 individual messages, one for each LED.

Lastly is the issue of MIDI devices and M4L. The monome uses serialosc to communicate. Because of this, a monome M4L device can send and receive MIDI data at the same time as sending a receiving button/led data.

[Reproduced with permission.]

Of course, if you have other DIY ideas here, we’d love to hear them!

The post Watch an Ableton Live sequence made physical on the monome grid appeared first on CDM Create Digital Music.

Yep, you can go virtuoso with ROLI – DiViNCi, Alluxe show you how

Delivered... Peter Kirn | Scene | Fri 3 Aug 2018 6:14 pm

You may have met ROLI’s Seaboard and Lightpad Blocks – the squishy performance controllers for computers and mobile. But all these promises about futuristic instruments aside, can you really wail on them? Computer says yes.

Finger drummer virtuoso DiViNCi is an absolute monster on these things. It reminds me of a couple of hyperactive drummer friends I grew up with, rapping on tables, only this actually works as a live performance. And whatever genre you’re into, this proves that if your ideas happen to be, you know – fast ideas – you can make them happen. Watch:

There’s actually a lot going on there, so even more useful than drooling over this performance demo is watching step-by-step as he pulls apart his live setup. He came to the jam without a plan, but … then that means some planning in setup, to make this function well as an all-in-one, one-man-band rig. This involves setting up some keys in advance, and configuring sounds, so that the setup is out of the way and he can lose himself and jam – even literally with his eyes closed.

ROLI’s hardware – for the moment, at least – doesn’t make any sound on its own, so it’s necessary to dig into the ROLI Dashboard to connect the hardware with software. That software in turn got some updates, recently, if you haven’t checked in on it lately.

It’s important to DiViNCi’s set that he combines the talkbox and the Blocks-controlled software instrument. Let’s check in, too, with Laura Escude aka Alluxe, and her “future classical” setup. Laura is someone special, in that she’s not only built a career as a solo musician and electronic instrumentalist, but also as a high-powered teacher and consultant, setting up live shows on the biggest imaginable scale for the likes of Kanye West and others. (She was also just added to the lineup at the next Ableton Loop in her home city LA in the fall, so see you all in California, hopefully!)

That said, it’s really Laura’s own performances that are the most personal. Instead of the ultra-compact Blocks, here she uses the Seaboard RISE keyboard controller – still my personal favorite. (Just squishy enough, more room to play on, but not so big that you can’t tote it around… and unlike the very first Seaboard, not too squishy. Squishy – technical term, hope you’re keeping up.)

She works with Ableton Live to set up sounds so the instrument can work through her setlist and stay expressive as she focuses on other stuff – like singing, for example.

That’s an interesting way of doing it, by the way – so it’s program changes in Live, triggered inside clips, triggered by follow actions. (I’ve been procrastinating doing a story just on how to manage different sounds in Live sets … it’s time.)

Some more resources:

Use Seaboard RISE with Kontakt

Use RISE with Apple Logic Pro and Equator

My Seaboard artist stories

The post Yep, you can go virtuoso with ROLI – DiViNCi, Alluxe show you how appeared first on CDM Create Digital Music.

Creative software can now configure itself for control, with OSC

Delivered... Peter Kirn | Scene | Tue 31 Jul 2018 5:10 pm

Wouldn’t it be nice if, instead of manually assigning every knob and parameter, software was smart enough to configure itself? Now, visual software and OSC are making that possible.

Creative tech has been moving forward lately thanks to a new attitude among developers: want something cool? Do it. Open source and/or publish it. Get other people to do it, too. We’ve seen seen that as Ableton Link transformed sync wirelessly across iOS and desktop. And we saw it again as software and hardware makers embraced more expression data with MIDI Polyphonic Expression. It’s a way around “chicken and egg” worries – make your own chickens.

Open Sound Control (OSC) has for years been a way of getting descriptive, high-resolution data around. It’s mostly been used in visual apps and DIY audiovisual creations, with some exceptions – Native Instruments’ Reaktor has a nice implementation on the audio side. But what it was missing was a way to query those descriptive messages.

What would that mean? Well, basically, the idea would be for you to connect a new visual app or audio tool or hardware instrument and interactively navigate and assign parameters and controls.

That can make tools smarter and auto-configuring. Or to put it another way – no more typing in the names of parameters you want to control. (MIDI is moving in a similar direction, if via a very different structure and implementation, with something called MIDI-CI or “Capability Inquiry.” It doesn’t really work the same way, but the basic goal – and, with some work, the end user experience – is more or less the same.)

OSC Queries are something I’ve heard people talk about for almost a decade now. But now we have something real you can use right away. Not only is there a detailed proposal for how to make the idea work, but visual tools VDMX, Mad Mapper, and Mitti all have support now, and there’s an open source implementation for others to follow.

Vidvox (makers of VDMX) have led the way, as they have with a number of open source ideas lately. (See also: a video codec called Hap, and an interoperable shader standard for hardware-accelerated graphics.)

Their implementation is already in a new build of VDMX, their live visuals / audiovisual media software:

https://docs.vidvox.net/vdmx_b8700.html

You can check out the proposal on their site:

https://github.com/vidvox/oscqueryproposal

Plus there’s a whole dump of open source code. Developers on the Mac get a Cocoa framework that’s ready to use, but you’ll find some code examples that could be very easily ported to a platform / language of your choice:

https://github.com/Vidvox/VVOSCQueryProtocol

There’s even an implementation that provides compatibility in apps that support MIDI but don’t support OSC (which is to say, a whole mess of apps). That could also be a choice for hardware and not just software.

They’ve even done this in-progress implementation in a browser (though they say they will make it prettier):

Here’s how it works in practice:

Let’s say you’ve got one application you want to control (like some software running generative visuals for a live show), and then another tool – or a computer with a browser open – connected on the same network. You want the controller tool to map to the visual tool.

Now, the moment you open the right address and port, all the parameters you want in the visual tool just show up automatically, complete with widgets to control them.

And it’s (optionally) bi-directional. If you change your visual patch, the controls update.

In VDMX, for instance, you can browse parameters you want to control in a tool elsewhere (whether that’s someone else’s VDMX rig or MadMapper or something altogether different):

And then you can take the parameters you’ve selected and control them via a client module:

All of this is stored as structured data – JSON files, if you’re curious. But this means you could also save and assign mappings from OSC to MIDI, for instance.

Another example: you could have an Ableton Live file with a bunch of MIDI mappings. Then you could, via experimental code in the archive above, read that ALS file, and have a utility assign all those arbitrary MIDI CC numbers to automatically-queried OSC controls.

Think about that for a second: then your animation software could automatically be assigned to trigger controls in your Live set, or your live music controls could automatically be assigned to generative visuals, or an iPad control surface could automatically map to the music set when you don’t have your hardware controller handy, or… well, a lot of things become possible.

We’ll be watching OSCquery. But this may be of enough interest to developers to facilitate some discussion here on CDM to move things forward.

Follow Vidvox:

https://vdmx.vidvox.net/blog

And previously, watching MIDI get smarter (smarter is better, we think):

MIDI evolves, adding more expressiveness and easier configuration

MIDI Polyphonic Expression is now a thing, with new gear and software

Plus an example of cool things done with VDMX, by artist Lucy Benson:

The post Creative software can now configure itself for control, with OSC appeared first on CDM Create Digital Music.

Free Ableton Live tool lets you control even more arcane hardware

Delivered... Peter Kirn | Artists,Scene | Tue 24 Jul 2018 5:21 pm

They’re called “NRPN”‘s. It sounds like some covert military code, or your cat walked on your keyboard. But they’re a key way to control certain instruments via MIDI – and now you have a powerful way to do just that in Ableton Live, for free.

NRPN stands for “Non-Registered Parameter Number” in MIDI, which is a fancy way of saying “we have a bunch of extra MIDI messages and no earthly clue how to identify them.” But what that means in practical terms is, many of your favorite synthesizers have powerful features you’d like to control and automate and … you can’t. Ableton Live doesn’t support these messages out of the box.

It’s likely a lot of people own synths that require NRPN messages, even if they’ve never heard of them. The Dave Smith Instruments Prophet series, DSI Tetra, Novation Peak, Roger Linn Linnstrument, and Korg EMX are just a few examples. (Check your manual and you’ll see.)

Now, you could dig into Max for Live and do this by hand. But better than that is to download a powerful free tool that does the hard work for you, via a friendly interface.

Uruguay-born, Brazil based superstar artist and ultra-hacker Gustavo Bravetti has come to our rescue. This is now the second generation version of his free Max for Live device – and it’s got some serious power inside. The original version was already the first programmable NRPN generator for Live; the new edition adds MIDI learn and bidirectional communication.

It’s built in Max 8 with Live 10, so for consistency you’ll likely want to use Live 10 or later. (Max for Live is required, which is also included in Suite.)

Features:

Up to 8 NRPN messages per device
Multiple devices can be stacked
Setup parameters in NRPN or MSB/LSB [that’s “most significant” and “least significant” byte – basically, a method of packing extra data resolution into MIDI by combining two values]
Bidirectional control and visual feedback
Record automation directly from your synthesizer
MIDI Learn function for easy parameter and data size setup
Adjustable data rate and redundancy filters
Configurable MIDI Thru Filter
Easy draw and edit automation with multiple Data Sizes

User guide

Download from Maxforlive.com

https://www.facebook.com/gustavobravettilive/

The post Free Ableton Live tool lets you control even more arcane hardware appeared first on CDM Create Digital Music.

Exploring a journey from Bengali heritage to electronic invention

Delivered... Peter Kirn | Artists,Labels,Scene | Mon 16 Jul 2018 8:42 pm

Can electronic music tell a story about who we are? Debashis Sinha talks about his LP for Establishment, The White Dog, and how everything from Toronto noodle bowls to Bengali field recordings got involved.

The Canadian artist has a unique knack for melding live percussion techniques and electro-acoustic sound with digital manipulation, and in The White Dog, he dives deep into his own Bengali heritage. Just don’t think of “world music.” What emerges is deeply his and composed in a way that’s entirely electro-acoustic in course, not a pastiche of someone else’s musical tradition glued onto some beats. And that’s what drew me to it – this is really the sound of the culture of Debashis, the individual.

And that seems connected to what electronic music production can be – where its relative ease and accessibility can allow us to focus on our own performance technique and a deeper sense of expression. So it’s a great chance not just to explore this album, but what that trip in this work might say to the rest of us.

CDM’s label side project Establishment put out the new release. I spoke to Debashis just after he finished a trip to Germany and a live performance of the album at our event in Berlin. He writes us from his home Toronto.

First, the album:

I want to start with this journey you took across India. What was that experience like? How did you manage to gather research while in that process?

I’ve been to India many times to travel on my own since I turned 18 – usually I spend time with family in and near Kolkata, West Bengal and then travel around, backpacking style. Since the days of Walkman cassette recorders, I’ve always carried something with me to record sound. I didn’t have a real agenda in mind when I started doing it – it was the time of cassettes, really, so in my mind there wasn’t much I could do with these recordings – but it seemed like an important process to undertake. I never really knew what I was going to do with them. I had no knowledge of what sound art was, or radio art, or electroacoustic music. I switched on the recorder when I felt I had to – I just knew I had to collect these sounds, somehow, for me.

As the years went on and I understood the possibilities for using sound captured in the wild on both a conceptual and technical level, and with the advent of tools to use them easily, I found that to my surprise that the act of recording (when in India, at least) didn’t really change. I still felt I was documenting something that was personal and vital to my identity or heart, and the urge to turn on the recorder still came from a very deep place. It could easily have been that I gathered field sound in response to or in order to complete some kind of musical idea, but every time I tried to turn on the recorder in order to gather “assets” for my music, I found myself resisting. So in the end I just let it be, safe in the knowledge that whatever I gathered had a function for me, and may (or may not) in future have a function for my music or sound work. It didn’t feel authentic to gather sound otherwise.

Even though this is your own heritage, I suppose it’s simultaneously something foreign. How did you relate to that, both before and after the trip?

My father moved to Winnipeg, in the center of Canada, almost 60 years ago, and at the time there were next to no Indian (i.e. people from India) there. I grew up knowing all the brown people in the city. It was a different time, and the community was so small, and from all over India and the subcontinent. Passing on art, stories, myth and music was important, but not so much language, and it was easy to feel overwhelmed – I think that passing on of culture operated very differently from family to family, with no overall cultural support at large to bolster that identity for us.

My mom – who used to dance with Uday Shankar’s troupe would corral all the community children to choreograph “dance-dramas” based on Hindu myths. The first wave of Indian people in Winnipeg finally built the first Hindu temple in my childhood – until then we would congregate in people’s basement altars, or in apartment building common rooms.

There was definitely a relationship with India, but it was one that left me what I call “in/between” cultures. I had to find my own way to incorporate my cultural heritage with my life in Canada. For a long time, I had two parallel lives — which seemed to work fine, but when I started getting serious about music it became something I really had to wrestle with. On the one hand, there was this deep and rich musical heritage that I had tenuous connections to. On the other hand, I was also interested in the 2-Tone music of the UK, American hardcore, and experimental music. I took tabla lessons in my youth, as I was interested in and playing drums, but I knew enough to know I would never be a classical player, and had no interest in pursuing that path, understanding even then that my practice would be eclectic.

I did have a desire to contribute to my Indian heritage from where I sat – to express somehow that “in/between”-ness. And the various trips I undertook on my own to India since I was a young person were in part an effort to explore what that expression might take, whether I knew it or not. The collections of field recordings (audio and later video) became a parcel of sound that somehow was a thread to my practice in Canada on the “world music” stage and later in the realms of sound art and composition.

One of the projects I do is a durational improvised concert called “The (X) Music Conference”, which is modeled after the all-night classical music concerts that take place across India. They start in the evening and the headliner usually goes on around 4am and plays for 3 or more hours. Listening to music for that long, and all night, does something to your brain. I wanted to give that experience to audience members, but I’m only one person, so my concert starts at midnight and goes to 7am. There is tea and other snacks, and people can sit or lie down. I wanted to actualize this idea of form (the classical music concert) suffused with my own content (sound improvisations) – it was a way to connect the music culture of India to my own practice. Using field recordings in my solo work is another, or re-presenting/-imagining Hindu myths another.

I think with the development of the various facets of my sound practice, I’ve found a way to incorporate this “form and content” approach, allowing the way that my cultural heritage functions in my psyche to express itself through the tools I use in various ways. It wasn’t an easy process to come to this balance, but along the way I played music with a lot of amazing people that encouraged me in my explorations.

In terms of integrating what you learned, what was the process of applying that material to your work? How did your work change from its usual idioms?

I went through a long process of compartmentalizing when I discovered (and consumer technology supported) producing electroacoustic work easily. When I was concentrating on playing live music with others on the stage, I spent a lot of time studying various drumming traditions under masters all over – Cairo, Athens, NYC, LA, Toronto – and that was really what kept me curious and driven, knowing I was only glimpsing something that was almost unknowable completely.

As the “world music” industry developed, though, I found the “story” of playing music based on these traditions less and less engaging, and the straight folk festival concert format more and more trivial – fun, but trivial – in some ways. I was driven to tell stories with sound in ways that were more satisfying to me, that ran deeper. These field recordings were a way in, and I made my first record with this in mind – Quell. I simply sat down and gathered my ideas and field recordings, and started to work. It was the first time I really sustained an artistic intention all the way through a major project on my own. As I gained facility with my tools, and as I became more educated on what was out there in the world of this kind of sound practice, I found myself seeking these kinds of sound contexts more and more.

However, what I also started to do was eschew my percussion experience. I’m not sure why, but it was a long time before I gave myself permission to introduce more musical and percussion elements into the sound art type of work I was producing. I think in retrospect I was making up rules that I thought applied, in an effort to navigate this new world of sound production – maybe that was what was happening. I think now I’m finding a balance between music, sound, and story that feels good to me. It took a while though.

I’m curious about how you constructed this. You’ve talked a bit about assembling materials over a longer span of time (which is interesting, too, as I know Robert is working the same way). As we come along on this journey of the album, what are we hearing; how did it come together? I know some of it is live… how did you then organize it?

This balance between the various facets of my sound practice is a delicate one, but it’s also driven by instinct, because really, instinct is all I have to depend on. Whereas before I would give myself very strict parameters about how or what I would produce for a given project, now I’m more comfortable drawing from many kinds of sound production practice.

Many of the pieces on “The White Dog” started as small ideas – procedural or mixing explorations. The “Harmonium” pieces were from a remix of the soundtrack to a video art piece I made at the Banff Centre in Canada (White Dog video link here???), where I wanted to make that video piece a kind of club project. “entr’acte” is from a live concert I did with prepared guitar and laptop accompanying the works of Canadian visual artist Clive Holden. Tracks on other records were part of scores for contemporary dance choreographer Peggy Baker (who has been a huge influence on how I make music, speaking of being open). What brought all these pieces together was in a large part instinct, but also a kind of story that I felt was being told. This cross pollination of an implied dramatic thread is important to me.

And there’s some really beautiful range of percussion and the like. What are the sources for the record? How did you layer them?

I’ve quite a collection, and luckily I’ve built that collection through real relationships with the instruments, both technical and emotional/spiritual. They aren’t just cool sounds (although they’re that, too) — but each has a kind of voice that I’ve explored and understood in how I play it. In that regard, it’s pretty clear to me what instrument needs to be played or added as I build a track.

Something new happens when you add a live person playing a real thing inside an electronic environment. It’s something I feel is a deep part of my voice. It’s not the only way to hear a person inside a piece of music, but it;s the way I put myself in my works. I love metallic sounds, and sounds with a lot of sustain, or power. I’m intrigued by how percussion can be a texture as well as a rhythm, so that is something I explore. I’m a huge fan of French percussionist Le Quan Ninh, so the bass-drum-as-tabletop is a big part of my live setup and also my studio setup.

This programmatic element is part of what makes this so compelling to me as a full LP. How has your experience in the theater imprinted on your musical narratives?

My theater work encompasses a wide range of theater practice – from very experimental and small to quite large stages. Usually I do both the sound design and the music, meaning pretty much anything coming out of a speaker from sound effects to music.

My inspiration starts from many non-musical places. That’s mostly, the text/story, but not always — anything could spark a cue, from the set design to the director’s ideas to even how an actor moves. Being open to these elements has made me a better composer, as I often end up reacting to something that someone says or does, and follow a path that ends up in music that I never would have made on my own. It has also made me understand better how to tell stories, or rather maybe how not to – the importance of inviting the audience into the construction of the story and the emotion of it in real time. Making the listener lean forward instead of lean back, if you get me.

This practice of collaborative storytelling of course has impact on my solo work (and vice versa) – it’s made me find a voice that is more rooted in story, in comparison to when I was spending all my time in bands. I think it’s made my work deeper and simpler in many ways — distilled it, maybe — so that the story becomes the main focus. Of course when I say “story” I mean not necessarily an explicit narrative, but something that draws the listener from end to end. This is really what drives the collecting and composition of a group of tracks for me (as well as the tracks themselves) and even my improvisations.

Oh, and on the narrative side – what’s going on with Buddha here, actually, as narrated by the ever Buddha-like Robert Lippok [composer/artist on Raster Media]?

I asked Robert Lippok to record some text for me many years ago, a kind of reimagining the mind of Gautama Buddha under the bodhi tree in the days leading to his enlightenment. I had this idea that maybe what was going through his mind might not have been what we may imagine when we think of the myth itself. I’m not sure where this idea came from – although I’m sure that hearing many different versions of the same myths from various sources while growing up had its effect – but it was something I thought was interesting. I do this often with my works (see above link to Kailash) and again, it’s a way I feel I can contribute to the understanding of my own cultural heritage in a way that is rooted in both my ancestor’s history as well as my own.

And of course, when one thinks of what the Buddha might have sounded like, I defy you to find someone who sounds more perfect than Robert Lippok.

Techno is some kind of undercurrent for this label, maybe not in the strict definition of the genre… I wonder actually if you could talk a bit about pattern and structure. There are these rhythms throughout that are really hypnotic, that regularity seems really important. How do you go about thinking about those musical structures?

The rhythms I seem drawn to run the gamut of time signatures and tempos. Of course, this comes from my studies of various music traditions and repertoire (Arabic, Greek, Turkish, West Asian, south Indian…). As a hand percussionist for many years playing and studying music from various cultures, I found a lot of parallels and cross talk particularly in the rhythms of the material I encountered. I delighted in finding the groove in various tempos and time signatures. There is a certain lilt to any rhythm; if you put your mind and hands to it, the muscles will reveal this lilt. At the same time, the sound material of electronic music I find very satisfying and clear. I’m at best a middling recording engineer, so capturing audio is not my forte – working in the box I find way easier. As I developed skills in programming and sound design, I seemed to be drawn to trying to express the rhythms I’ve encountered in my life with new tools and sounds.

Regularity and grid is important in rhythm – even breaking the grid, or stretching it to its breaking point has a place. (You can hear this very well in south Indian music, among others.) This grid undercurrent is the basis of electronic music and the tools used to make it. The juxtaposition of the human element with various degrees of quantization of electronic sound is something I think I’ll never stop exploring. Even working strongly with a grid has a kind of energy and urgency to it if you’re playing acoustic instruments. There’s a lot to dive into, and I’m planning to work with that idea a lot more for the next release(s).

And where does Alvin Lucier fit in, amidst this Bengali context?

The real interest for me in creating art lies in actualizing ideas, and Lucier is perhaps one of the masters of this – taking an idea of sound and making it real and spellbinding. “Ng Ta (Lucier Mix)” was a piece I started to make with a number of noodle bowls I found in Toronto’s Chinatown – the white ones with blue fishes on them. The (over)tones and rhythms of the piece as it came together reminded me of a piece I’m really interested in performing, “Silver Streetcar for The Orchestra”, a piece for amplified triangle by Lucier. Essentially the musician plays an amplified triangle, muting and playing it in various places for the duration of the piece. It’s an incredible meditation, and to me Ng Ta on The White Dog is a meditation as well – it certainly came together in that way. And so the title.

I wrestle with the degree with which I invoke my cultural heritage in my work. Sometimes it’s very close to the surface, and the work is derived very directly from Hindu myth say, or field recordings from Kolkata. Sometimes it simmers in other ways, and with varying strength. I struggle with allowing it to be expressed instinctually or more directly and with more intent. Ultimately, the music I make is from me, and all those ideas apply whether or not I think of them consciously.

One of the problems I have with the term “world music” is it’s a marketing term to allow the lumping together of basically “music not made by white people”, which is ludicrous (as well as other harsher words that could apply). To that end, the urge to classify my music as “Indian” in some way, while true, can also be a misnomer or an “out” for lazy listening. There are a billion people in India, I believe, and more on the subcontinent and abroad. Why wouldn’t a track like “entr’acte” be “Indian”? On the other hand, why would it? I’m also a product of the west. How can I manage those worlds and expectations and still be authentic? It’s something I work on and think about all the time – but not when I’m actually making music, thank goodness.

I’m curious about your live set, how you were working with the Novation controllers, and how you were looping, etc.

My live sets are always, always constructed differently – I’m horrible that way. I design new effects chains and different ways of using my outboard MIDI gear depending on the context. I might use contact mics on a kalimba and a prepared guitar for one show, and then a bunch of external percussion that I loop and chop live for another, and for another just my voice, and for yet another only field recordings from India. I’ve used Ableton Live to drive a lot of sound installations as well, using follow actions on clips (“any” comes in handy a lot), and I’ve even made some installations that do the same thing with live input (making sure I have a 5 second delay on that input has….been occasionally useful, shall we say).

The concert I put together for The White Dog project is one that I try and keep live as much as possible. It’s important to me to make sure there is room in the set for me to react to the room or the moment of performance – this is generally true for my live shows, but since I’m re-presenting songs that have a life on a record, finding a meaningful space for improv was trickier.

Essentially, I try and have as many physical knobs and faders as possible – either a Novation Launch Control XL or a Behringer BCR2000 [rotary controller], which is a fantastic piece of gear (I know – Behringer?!). I use a Launchpad Mini to launch clips and deal with grid-based effects, and I also have a little Launch Control mapped to the effects parameters and track views or effects I need to see and interact with quickly. Since I’m usually using both hands to play/mix, I always have a Logidy UMI3 to control live looping from a microphone. It’s a 3 button pedal which is luckily built like a tank, considering how many times I’ve dropped it. I program it in various ways depending on the project – for The White Dog concerts with MIDI learn in the Ableton looper to record/overdub, undo and clear button, but the Logidy software allows you to go a lot deeper. I have the option to feed up to 3 effects chains, which I sometimes switch on the fly with dummy clips.

The Max For Live community has been amazing and I often keep some kind of chopper on one of the effect chains, and use the User mode on the Launchpad Mini to punch in and out or alter the length of the loop or whatnot. Sometimes I keep controls for another looper on that grid.

Basically, if you want an overview – I’m triggering clips, and have a live mic that I use for percussion and voice for the looper. I try and keep the mixer in a 1:1 relationship with what’s being played/played back/routed to effects because I’m old school – I find it tricky to do much jumping around when I’m playing live instruments. It’s not the most complicated setup but it gets the job done, and I feel like I’ve struck a balance between electronics and live percussion, at least for this project.

What else are you listening to? Do you find that your musical diet is part of keeping you creative, or is it somehow partly separate?

I jump back and forth – sometimes I listen to tons of music with an ear to try and expand my mind, sometimes just to enjoy myself. Sometimes I stop listening to music just because I’m making a lot on my own. One thing I try to always take care of is my mind. I try to keep it open and curious, and try to always find new ideas to ponder. I am inspired by a lot of different things – paintings, visual art, music, sound art, books – and in general I’m really curious about how people make an idea manifest – science, art, economics, architecture, fashion, it doesn’t matter. Looking into or trying to derive that jump from the mind idea to the actual real life expression of it I find endlessly fascinating and inspiring, even when I’m not totally sure how it might have happened. It’s the guessing that fuels me.

That being said, at the moment I’m listening to lots of things that I feel are percolating some ideas in me for future projects, and most of it coming from digging around the amazing Bandcamp site. Frank Bretschneider turned me on to goat(jp), which is an incredible quartet from Japan with incredible rhythmic and textural muscle. I’ve rediscovered the fun of listening to lots of Stereolab, who always seem to release the same record but still make it sound fresh. Our pal Robert Lippok just released a new record and I am so down with it – he always makes music that straddles the emotional and the electronic, which is something I’m so interested in doing.

I continue to make my way through the catalog of French percussionist Le Quan Ninh, who is an absolute warrior in his solo percussion improvisations. Tanya Tagaq is an incredible singer from Canada – I’m sure many of the people reading this know of her – and her live band, drummer Jean Martin, violinist Jesse Zubot, and choirmaster Christine Duncan, an incredible improv vocalist in her own right are unstoppable. We have a great free music scene in Toronto, and I love so many of the musicians who are active in it, many of them internationally known – Nick Fraser (drummer/composer), Lina Allemano (trumpet), Andrew Downing (cello/composer), Brodie West (sax) – not to mention folks like Sandro Perri and Ryan Driver. They’ve really lit a fire under me to be fierce and in the moment – listening to them is a recurring lesson in what it means to be really punk rock.

Buy and download the album now on Bandcamp.

https://debsinha.bandcamp.com/album/the-white-dog

The post Exploring a journey from Bengali heritage to electronic invention appeared first on CDM Create Digital Music.

Escape look-alike Ableton Live colors with these free themes

Delivered... Peter Kirn | Scene | Tue 10 Jul 2018 1:04 pm

You stare at its interface for hours on end. Why not give your eyes something different to look at? Now Ableton Live 10, too, gets access to custom colors.

Judging by looking over people’s shoulders, a lot of Live users simply don’t know that you can hack into Ableton’s custom theme files and modify things. And so we’re all caught in drab uniformity, with the same color theme – both unoriginal and uninspiring.

Fortunately, we have Berlin native and leading Ableton Live guru and educator Madeleine Bloom to come to our rescue. Madeleine has long made some pleasing variations for Live’s colors. Now she’s got two new sets (with more on the way) for Ableton Live 10. Live 10 can still read your old color modifications, but because of some minor changes to the interface, files made for its new XML-based format will work better. (Ableton also changed the name from “skins” to “themes,” for some reason.)

Free Ableton Live Themes Set #1

Free Ableton Live Themes Set #2 [I spot a naming pattern here]

To install theme, follow this tutorial (for both Live 10 and Live 9 and earlier):

Ableton Live Tutorial: How to install new Skins

And if you think these colors aren’t quite right, Madeleine has also written a tutorial for creating your own themes or making modifications to these:

How to Create Your Own Ableton Live Themes & Free PDF Theming Guide

There’s even a link there to a graphical theme editor for Mac and Windows with previews, in case you don’t like editing XML files.

“But, Peter!” says you, “you’re just now a paid shill for Ableton, trying to force me to upgrade to Live 10 when I don’t need it!”

Why, you’ve just made me spit out some of this lifetime supply of Club-Mate soda that Ableton has delivered to my flat every day, you ungrateful readers! Of course, I can’t imagine why you wouldn’t upgrade to Live 10 — why, it’s The Future of Sound. Oh… wait, actually, that’s Native Instruments’ slogan. Sometimes I forget who I’m shilling for.

Anyway, if you are stuck on the clearly inferior and not-having-an-Echo effect Live 9 or earlier, Madeleine is nice enough to have you covered, too, with a whole bunch of skins for those versions. There are dozens of those, including various from readers:

https://sonicbloom.net/en/?s=ableton+live+skins&submit=Search

And there’s an accompanying guide to making your own skins, as well.

Now, enjoy. I have to go lie down, as I think all this Club-Mate sponsorship has made me feel a bit lightheaded.

You’ll find a ton of resources for Live at Sonic Bloom, the site Madeleine runs. It’s a complete hub for information, which is way better than trying to navigate random YouTube uploads:

https://sonicbloom.net/en/

The post Escape look-alike Ableton Live colors with these free themes appeared first on CDM Create Digital Music.

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