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

Streamlabs is an easier, free all-in-one streaming app, now on Mac, Windows, iOS, and Android

Delivered... Peter Kirn | Scene | Fri 3 Apr 2020 5:40 pm

Start with OBS, the now industry-standard streaming app, and add a bunch of special sauce to make it easier and friendlier. Now you’ve got Streamlabs – and it just added Mac support to its other platforms.

Mention live streaming any time in the past year or so, and someone no doubt told you to use OBS. Open Broadcaster Software, aka OBS Studio, is indeed free and powerful – not only for streaming but live recording, too. (It quietly displaced a lot of pricey and often incomplete commercial screencasting software, too.)

OBS has gotten a lot easier – a cash infusion from Twitch, Facebook, NVIDIA, and Logitech no doubt helped. But it’s still a bit intimidating as far as configuring settings for recording, to say nothing of the manual settings required to then make it upload to various streaming platforms.

That’s where Streamlabs comes in. It’s got its own desktop apps based on OBS, plus apps that let you easily stream from Android and iOS, too. So while you could do all of this on OBS desktop, Streamlabs makes it easier – basically, it’s a bit like having a custom distro of OBS. And then by adding mobile access, those platforms become easier, too.

Looks like OBS – but 100% less intimidating.

So in addition to all the things that make OBS powerful – using any video source or onscreen inputs, switching between them, handling resolutions and recording as well as connecting, you get:

  • Pre-configured streaming platforms and easy login (think YouTube, Twitch, Facebook, etc.)
  • Auto-optimized video settings
  • Custom alerts (so you can also beg for donations, add engagement)
  • Themes and widgets for customizing your stream
  • Built-in chat (normally requiring you to open another window in OBS, which gets surprisingly clumsy fast)
  • Easy recording
  • Cloud backups (so you don’t lose your recording)


Honestly, having played around with it a bit, maybe the best part of Streamlabs is that all the power of OBS is there, but easier to use. So it doesn’t feel like a dumbed-down version of OBS so much as a polished, beginner-friendly interface with all the same features – and some useful additions.

The easier-to-follow Sources dialog alone is probably worth the price of admission. And price of admission is free, anyway.

The mobile apps also feature a lot of nice integrations on these lines, too. Think similar cross-platform streaming support, importing OBS settings from desktop, and adding widgets for events, donations, and chat.


The spin here of OBS is open source, like its sibling. It’s based on Electron, so I hope that now that macOS was added, we’ll see Linux, too. Linux users should meanwhile note that OBS packaging has improved a lot across distros, and Ubuntu Studio for instance even bakes a pre-configured OBS right into the OS. I have no idea how much work would be required to do the same with Streamlabs. (PS, you can beta test 20.04 LTS right now and help them squash bugs before what I think will be a very essential global pandemic stay-at-home OS release!)

So, since this is free and open source, what’s the business model?

Basically, you can grab this for free and have a nicer version of OBS. Tips and donations to content makers go 100% to you – no cut for Streamlabs. (Good – and a major difference with a lot of horrible startups.)

Then for a monthly fee, you can add additional effects (US$4.99/month, “PRO”), or a bunch of custom widgets, custom domain and website, and other extras (Prime, $12/mo billed annually).


I hope they allow month-to-month billing, but regardless, it’s nice to see a business built on open source software and that still has sustainable business support. (CDM is possible because of just that idea – thank WordPress.)

I’m sure some people are groaning at me even sharing this information, given how many streams are out there right now. But”streaming” doesn’t necessarily mean to a wide audience – it’s useful in any case where you want to teleport yourself around the world (while under stay-at-home orders, for instance) even if it’s to a small group. Plus, even if you haven’t been struggling with this yourself, now you can tip off your friends so they don’t a) bug you for how to set up their stream and/or b) stream really low-quality material you have to then watch.

And I think just as with blogs, the question is not really quantity or openness, but quality – and whether there’s a model for supporting the people putting out that quality. More on this soon.

The post Streamlabs is an easier, free all-in-one streaming app, now on Mac, Windows, iOS, and Android appeared first on CDM Create Digital Music.

Learn how to live stream your music with these two easy, quick videos, gear tips

Delivered... Peter Kirn | Scene | Wed 1 Apr 2020 5:25 pm

Okay, so everyone is suddenly live streaming. But the thought of setting this up hurts your brain. Fortunately, two of our friends have put together concise videos to get you started.

Live streaming music performances hardly started with this pandemic era – and to be fair, a lot of us have been putting off working out how to do it anyway. So let’s do it properly. Live streaming can be a good way to connect with people and to try out material. Its main enemy is often technical trouble. Michael and Tom to our rescue!

Tom Cosm has a desktop guide that takes just two minutes – he captures both from his screen and a webcam, which could also work for tutorials, live coding, and more creative ideas.


OBS https://obsproject.com

Streaming platform (Twitch, Facebook Live, etc.)

Desktop platforms (mobile and custom options coming soon)

Michael Forrest has a live streaming how-to – from August 2019, and a reminder that this can be a good idea that you genuinely enjoy rather than an endtimes substitute for live performance as civilization collapses and you abandon hope of ever playing for a crowd of more than two people or within 2 meters of a human. (I mean – let’s definitely not think about it that way.)

And there is a ton of useful gear here. From his list (and his affiliate links). Crucially, since the OBS part is pretty straightforward, having a good stand and lighting is essential – and based on my cursory research, you can ship from a lot of electronics providers at the moment even given lockdowns (and not only Amazon, in case you want to protest that company).

Best of all, he’s got a terrifically useful scene switcher script:


Rest of the gear:

Streaming software - https://obsproject.com/
Audio Mixer with USB out - http://amzn.to/2eu59iW
Audio limiter / compressor - http://www.fmraudio.com/rnla.html
Wirelessly receive video to computer from phone -  http://bit.ly/2f6ti0A
iPhone app for clean camera feed - http://apple.co/2f6t21J
Tripod - http://amzn.to/2dVuhON
Tripod phone mount - http://amzn.to/2eKAGeV
Lighting LED lighting - http://amzn.to/2ePZxMw
Lighting stand - http://amzn.to/2feGJe8
Video from DSLR
Thunderbolt video capture - http://amzn.to/2eu3iKP
Connect camera to video capture - http://amzn.to/2eKDHfl
Connect video capture to computer - http://amzn.to/2f6vBB5
My DSLR Camera Body - http://amzn.to/2dJ0GF3
Prevent camera from sleeping after 30 mins - http://www.magiclantern.fm/
Wide angle lens if you’re in a tight space - http://amzn.to/2ePXh8e
50mm lens for portraits-style shots - http://amzn.to/2eu37PD
Macro lens for close ups - http://amzn.to/2eu3iKP

Lots of little relevant tips in this video, as well.

And some more gear…

A few more bits of kit I’ve had an eye on. IK Multimedia have started daily livestreams:


But it’s also worth noting they have some rather useful looking kit for podcasting and streaming, particularly solving this on mobile:

iRig Stream is a useful interface, and

iRic Mic Video bundle (and the associated grip and mics in their Creator Series)

…all look useful.

Roland have their GO:LIVECAST which I’ve mentioned, though it seems to lack stereo line input (still trying to get hold of one of these). See also their GO:MIXER.

Sometimes it’s the stuff not specifically directed at streaming that looks most useful for audiovisual use cases. In particular, one friend clued me into the ZOOM U-24 – 2-in, 4-out interface, with preamps:


I’m still not entirely seeing the perfect solution I’d imagine here, so I’m keen to hear what you’re thinking.

And this being CDM, absolutely taking your ideas – and intend to discuss some different approaches to online performance, not only the traditional video Web stream. Watch this space.

The post Learn how to live stream your music with these two easy, quick videos, gear tips appeared first on CDM Create Digital Music.

Exclusive: a gig and a half of finely-crafted Riemann techno sounds, free for 48 hours

Delivered... Peter Kirn | Scene | Tue 31 Mar 2020 7:20 pm

It’s hard to get that deep, crowded club feeling right now in isolation. So here from our friend Florian Meindl and Riemann Kollektion is a big boost – and a master class in techno craft.

Honestly, I’ve said this to folks before, but I’ll say it again – it really says something to me about Riemann and Florian that these demo songs bang harder than most released music. It’s almost worth just browsing this 1.4GB collection of 24-bit sounds just to understand a bit about how his heard works. (I’ve been browsing through.)

So, for 48 hours, just for CDM, Florian has swapped over the price of one of his best sound packs – Best of Riemann 2019 Techno (24bit WAV – Loops & Oneshots). (Ah, I remember 2019 … so … fondly now …)

There’s now really no reason not to get started. Ableton has a free 90-day trial of Live Suite, just announced, which even includes Max for Live. (It’s normally 30 days.)


Then you can read the free guides I wrote for Riemann Kollektion to get going:

Tutorial: Unlock hidden sound tricks in Ableton Live 10’s effects

Tutorial: Super Fast Arrangement in Ableton Live 10

Max for Live: the techno producers’ guide

Plus if you have some hardware – even some stompboxes will do – you should also check out Florian’s approach to analog effect chains in that tutorial.

Then stock up on the samples with the free Best of Riemann pack. And sorted.

For some more inspiration, here’s a bit of how Florian works live – very hardware focused, but something you could apply to other setups, as well, in terms of raw musicianship and sound:

The post Exclusive: a gig and a half of finely-crafted Riemann techno sounds, free for 48 hours appeared first on CDM Create Digital Music.

Endlesss is a musical jam app; Imogen Heap, KiNK, Matt Black, more join a stream today

Delivered... Peter Kirn | Artists,Scene | Tue 31 Mar 2020 9:51 am

If you’re bored of just video chatting with Zoom, Houseparty, and the like, Endlesss might be the musical switch-up you need. And some big personalities are joining in a day long stream today to give you a taste of what it’s about.

First, Endlesss – it’s an iOS-only (for now) collaborative music creation app. The idea is, you get started right away building loops, using built-in instruments, playable pads, and add-on effects. That makes it accessible to first-timers – so it could be ideal for introducing your friends and family to some music jamming now, especially as an antidote to grainy underlit camera footage of all of us in sweatpants.

Plus, hey, slick visuals, for things like this:

Some apps might just dead-end there. But if you are a musician, you can push Endlesss further. There’s an all-critical microphone input, meaning skilled vocalists and rappers and beatboxers can blow this thing away. Instrument and effects packs go fairly deep. And for musicians, you can connect via Ableton Link, export materials (even as stems, at last), and choose custom key, scale, tempo, time signature and quantization.

Yeah, it’s almost like this thing was made by real musicians. And, of course, it was – Tim Exile has led the Endlesss team; he’s known to us as the ultra-virtuoso mega-geek behind Reaktor tools such as The Mouth and Flesh. And that sensibility is here, too – build on looping facilities to let your musical fancies take flight.

So it’s fitting that some key personalities are joining the stream today.

Imogen Heap is of course another defining artist in modern looping-vocal technique.

KiNK has proven that virtuoso live performance has a place on dancefloors, too, even in the age of linear CDJ mixing.

Matt Black and his act Coldcut built some of the software and performances that showed what audiovisual sampling cut-up culture could be.

And there’s more. Flux Pavilion is a major name in EDM at that meeting point between mainstage and producer, singer-songwriter and electronic production. Dan Le Sac is another legendary UK name (and also crossing into game production). And from our Internet music tech world, Gaz Williams of Sonic State is there both as a presence from journalism and synth and bass musicianship – hi, Gaz!

Twitch.tv, while first established for gaming, has of late become a refuge for musicians. Higher-quality streams, better community features that actually work properly, and proper monetization that might not drive artists further into the poor house all set it apart from the major US tech oligopoly providers. (You know who you are.) So this feed is appropriately launching on the channel by touring app Bandsintown with Twitch, just as artists look for ways to keep some trickle of funds and activity coming in during global lockdown.


Tune in today Tuesday daytime UK time. (I’m inquiring about replays for the USA, which will be slowly waking up toward the end of the programming.) If you’re personally puzzling on how to stream while dealing with competing platforms, they’re using the most popular tool for that, restream.io.

And if you’ve got an iOS gadget (iPad and iPod touch work, too), head to:

Endlesss – Multiplayer Music

The app is free, with in-app purchases of additional content.


The post Endlesss is a musical jam app; Imogen Heap, KiNK, Matt Black, more join a stream today appeared first on CDM Create Digital Music.

Fantastic Voyages, a simulated Tascam Portastudio, and a voice from isolation

Delivered... David Abravanel | Scene | Mon 30 Mar 2020 7:36 pm

From his machines’ novel ideas like neural network distortion to AV installation made from DNA, Giorgio Sancristoforo is a defiant, powerful musical voice – coming to us from deep in pandemic quarantine.

David Abravanel reports for CDM.

“At the end we will make it,” says Giorgio Sancristoforo. “Though I honestly don’t know what to expect in the aftermath.”

It’s an anxious and trying time for the entire world, dealing with the fallout of an unprecedented pandemic. The world’s hardest-hit region remains Lombardy, the northern province of Italy that contains industrial and fashion capital Milan, where musician, software developer, and visual artist Giorgio Sancristoforo lives.

Giorgio is perhaps best known for Gleetchlab, his music software environment designed for making experimental electro-acoustic music. Currently in its fifth incarnation as Gleetchlab X, it includes such unusual features as effects that use neural network modeling for distortion, replicate skips from scratched CDs (instant Oval!) or magnetic data corruption of a hard disk.

Improvisation in Gleetchlab X.

Giorgio’s music and audio-visual art are as eclectic as his software – whether it’s disco house as Tobor Experiment, or, lately, working with radiation and his own DNA sequence as sound sources and controllers.

Shortly before the pandemic hit, Giorgio emerged from a period of relative silence on the software release front with GleetchDrone, a gorgeous synth that showed off his new GUI design – skeuomorphic, yet remarkably clean and very friendly. Now comes Fantastic Voyage, a “Portable Cosmic Studio” inspired by the Tascam Portastudio, and featuring many of Giorgio’s own decidedly experimental ideas. 

I caught up with Giorgio to get a glimpse of his life – the new software, his latest music and audiovisual projects, and living through the pandemic.

“Radiation Grooves”, an improvisation from Giorgio with sonified gamma radiation.

David: You took a break from releasing software, then came back to release GleetchDrone. You’ve been working with DNA, including your own sequence – how did that happen?

Giorgio: I code software for my work almost every day. The software for sale to the public is just the tip of the iceberg. 

I’ve worked the whole year to get my DNA sequenced and to craft a “radiation projector” to use radioactive materials in an installation. I designed several algorithms to translate my genetic code into sound with quaternary mathematics. I call this system “Phonosomic Code”.

Once I get the sound out of my DNA, I use radioactive elements such as Sr90 to stimulate a mutation of the code. This research was possible thanks to the precious help of the scientists of the JRC Nuclear Security Unit, the JRC Biochemistry and Genomics Unit, and the JRC Knowledge for Health & Consumer Safety Unit. The installation was the first phase of this research. 

I am working at 360°with genomics and radioactive materials to produce sounds, images, photos and meta-sculptures and of course software.

The quarantine put many events on hold that I should have attended in Spring 2020, so I thought that I could take a little break and code a couple of new instruments for the people who are stuck at home like me.


GleetchDrone is an impressive interface – were you inspired by any existing hardware?

Well yes. Soma Lyra-8 was the inspiration for GleetchDrone, in addition to some memories of my days with ADDAC modules. (I don’t have hardware synths anymore). 

You know, many times it starts just as challenge between me and me. If I want a certain piece of hardware [in software form], I start coding and see what can I do to improve it for my needs.

For Fantastic Voyage, you said you were inspired by working with a Tascam Portastudio. Do you still have one?

No, I don’t have any analog equipment nowadays, except a Teac A3440 1/4”. But it must be repaired [laughs].

The Portastudio was my first recorder in the early 90s, I literally learned to play music thanks to that recorder. At that time I was into the psychedelic/indie scene (Spacemen3, Stereolab, Inspiral Carpets, etc.) and I learned to play guitar, bass, organ and synths to record songs on that machine. Fantastic Voyage is my ideal stomp-box/studio for tripping guitars, but people will do amazing things with it using any kind of instrument. It’s my tribute to psychedelia.

Fantastic Voyage.

GleetchDrone and Fantastic Voyage were released within weeks of each other. Is there more software that you’re working on? Is this a new series?

I’ll tell you the truth: this very much depends on the length of the quarantine. I’ve been working on my personal software for the DNA work for months and I want to finish this as soon as possible, but I don’t rule out making new public releases in the coming weeks. There is much time nowadays.

An audio-visual installation based on Giorgio’s DNA sequence.

Another of your programs, Berna, replicates a 1950s-style early electronic music studio. Are there any pieces from that era which remind you of what’s possible with Berna?

Berna is 90% a clone of the RAI Studio di Fonologia in Milan, so many musical pieces crafted in that studio could be theoretically re-recorded with Berna. But, keep in mind that a significant part of the job was tape splicing, the machines often played a secondary role in the early days of electronic music. The biggest part was the manual job on tape with scissors and scotch tape.

A classic piece that one could do on Berna is “Scambi” by Henri Pousseur. 

Henri Pousseur – “Scambi”.

Of course, if you are crazy enough, you could record Stockhausen’s “Studie II” (adding a lot of work in a DAW to edit the tape fragments), which was originally made at WDR studio in Cologne in 1954.

In the manual for Fantastic Voyage, you mention that it was developed during lockdown isolation in Italy. Obviously, it’s been a very difficult time for Italy with COVID-19. How have you been doing in isolation? What do you think about the role of artists and developers during this period?

I live in downtown Milan, and my region, Lombardy, has been hit very hard by the virus. We still don’t see the light out here.

As an artist and hardcore nerd my life has not changed dramatically. My loft is my atelier. I have more time to concentrate and fewer distractions, so I am very productive despite the situation. Of course I miss my friends, my bookstores trips, and sushi on the river.  Each time I go to the supermarket I feel a little bit like I’m attending a Russian Roulette party. 

Giorgio, in isolation in Milan.

The most frightening thing for me is the surreal silence broken by sounds of ambulances the whole day. One night we had an army helicopter flying over our heads shining light beacons; it was patrolling downtown, and I tell you, it was not a pleasing experience. I’ve never seen that before. It felt very dramatic, but at the end we will make it.

Though I honestly don’t know what to expect in the aftermath.

It could be a chance to change our society. I hope that this virus will make us better persons. 

But I also see many irrational responses to the crisis. A lot of ideological polarization driven by fear and denial of science, plus a good deal of confusion among politicians and journalists which is now showing how many of them are unfit for the job. The virus is a test for us all. For sure this is an historical event of unprecedented size. We’ll see what the future will bring.

Artists and developers are doing a great job. Artist are hit very hard by the virus with the cancellation of exhibitions, concerts etc. The whole art industry will suffer income losses for millions of euros. Yet the artistic community is doing a great job to make the people who are stuck at home feel a little better, with streaming of music, events, lessons. I am truly amazed by this tenacious response. It is also true that creative people are lucky. They can invest this quarantine time to serve the community and at the same time they have the intellectual means to cope with a long forced lockdown.

My artistic work is about mutation and transformation. Transformation is the very essence of life.

Changes are never easy and seldom painless. We are facing a huge transformation, It’s up to all of us, to turn this tragedy into a change for the better.

War, social injustice, poverty, famine, climate change, are all out there. 

The virus is a tough teacher, we must learn from it. Climate change will be a much powerful enemy, we must be prepared for a bigger war.

The virus shows us how anachronistic and useless are the idea of nations. We are one single planet.

This war will not be fought with weapons, but with compassion, care, solidarity and a radical shift in our priorities.

Stay safe.

Play loud.



Trial/purchase Giorgio’s software – including Gleetchlab X, GleetchDrone, and Fantastic Voyage

Giorgio Sancristoforo on Vimeo

Giorgio Sancristoforo on Bandcamp

The post Fantastic Voyages, a simulated Tascam Portastudio, and a voice from isolation appeared first on CDM Create Digital Music.

Did Apple just leak a new version of Logic with Ableton-style clip launching?

Delivered... Peter Kirn | Scene | Sun 29 Mar 2020 8:47 pm

Apple appears to have accidentally leaked an upcoming version of Logic Pro with the signature feature of Ableton Live – nonlinear pattern launching.

While spotted on Reddit, the source of this leak at the famously secretive company appears to be … Apple itself. As I write this, the screenshot is still live on a public education site:


If this is real – and not a mock-up that accidentally wound up on the page – it represents a landmark. That landmark might best be described as “what took you so long,” arguably, given that Apple Loops have been a feature of Logic Pro and GarageBand back to the reveal of GarageBand in January 2004. (Time flies!)

We can pretty easily analyze the screenshot. At the top, new icons appear to let you view a nonlinear Session View-style layout, the normal track arrangement, or both. (In this screen shot, the two are side-by-side.)

Navigation icons.

As with other copies of Live’s signature Session View, the horizontal and vertical axes are flipped. So whereas Live shows you tracks the way channel strips appear on a hardware mixer, vertically, Apple opt for a view more like a software DAW. Tracks are laid out horizontally, so that they match up with the arrangement.

The grid. Note the circular displays with waveforms – something seen in iPad apps, for instance – though essentially the opposite of Ableton’s embrace of minimalism.
Remix FX – here made to look very Ableton-esque. (These were in GarageBand; I can’t recall exact versions and the relation to Logic… anyone?)

Really, my issue with this is that you wind up with kind of a jumble of interface elements. That’s been the challenge in other DAWs trying to do the same. (An ill-fated effort in Cakewalk nee SONAR springs to mind; MOTU has tried the same in DP, but it’s a bit too soon to know yet how DP users are responding.)

Part of the appeal of Ableton Live is that the entire engine and software operation are structured around the idea, and the UI is clean and compact as a result. Here, part of the reason people may have responded that the image was fake was that it gives the user a lot to digest.

You’ll also see X/Y-pad effects at the bottom, including a filter and repeater – aping something that was in Ableton Live way back at the start.

I’m not sure how users will receive this. It could represent a blow to Ableton in the crucial education market, however, regardless – because it might allow education buyers to standardize on just Logic seats. But it represents a challenge independent software developers face, up against a company the size of Apple, when it comes to value.

On the other hand, I wouldn’t assume anything until there’s official word from Apple. Given this absolutely represents some kind of screw-up, it’s possible the screenshot itself is not representative of something Apple will actually ship.

And I wouldn’t worry too much about Ableton – the company has proven time and again that users are loyal to its workflow and simplicity, whatever the competition. Those of us sometimes swapping between Logic and Live might meanwhile just find this a welcome convenience. Time will tell.

Mainly I’m just sorry for whoever is working at home who may have, erm, just let this out.

The post Did Apple just leak a new version of Logic with Ableton-style clip launching? appeared first on CDM Create Digital Music.

Arturia, Logic, Final Cut, Reaper, and more offer these free tools while you stay at home

Delivered... Peter Kirn | Scene | Fri 27 Mar 2020 10:19 pm

Apple Logic Pro, Reaper, and other free and inexpensive tools mean there’s no reason to stare at the walls in self=isolation. Even if your budget is hurting, you can make some music. Here’s an overview.

Plus, bonus – because all these are free for the next 90s days, they’re perfect for collaborating with friends, since you can make sure you’re running the same software. And even if you don’t collaborate in real-time (yeah, I get nervous when people watch me stream messing around with knobs), this is a way for us to feel a little less like we’re on our own.

Play with Pigments, learn tools, get an iPad drum machine app free, thanks to Arturia.

Arturia have a complete stay-home guide: The Pigments software synth is free through July 3, iSpark drum machine is free on the iPad, plus just as importantly, you can catch a whole series devoted to learning tools, improving skills, checking out livestreams and Q&A, and even sharing your work. It looks like it makes loads of sense – Arturia’s folks are also stuck at home, so we all get to interact:


Even if you use another DAW, Logic might be worth playing with for its wonderful toys – and once you get tired of only live streaming, Final Cut lets you, like, also edit video.

Apple have made a full 90-day license for both Final Cut Pro X and Logic Pro X, so you can get to work editing video and making music. (Hey, you could probably spend 90 days just playing around with the Sculpture and Alchemy synths alone!)



I recommend you adjust the viewing angle of your monitor. This is seriously not ergonomic. But REAPER is seriously awesome.

REAPER is a great low-cost DAW to begin with and allows free evaluation, but they’ve even created a temporary free license you can use through the 1st of July. Download Reaper if you don’t have it already, then install the license file by copy-pasting text. So they’re even more generous than normally, and their DAW runs on 32-bit and 64-bit macOS and Windows, plus macOS Catalina – just about any machine old or new works. (There’s even an experimental Linux build, or try running in WINE.)

Novation goodies: This actually a normal deal, not pandemic related, but Novation hardware owners can get a free plug-in emulating the rare Sound Master SR-88 analog drum machine, among other goodies. If you missed signing up/registering, and you own some Novation gear, head to – https://novationmusic.com/en/sound-collective

Tracktion Waveform Free is the always-free version of this DAW, which runs on Mac, Windows, Linux (tested on Ubuntu), and even Raspberry Pi . Even the free version has unlimited track count and a simple drum sampler and 4-oscillator subtractive synth. That makes it another ideal choice for collaboration – and you can always bounce down your particular set of plug-ins or output from other software, then use Waveform Free to work on the mix.

Cherry Audio are giving away their starter kit Voltage Nucleus so you can try out modular synthesis for free – with a very capable set of modules already. Get patching and take your mind off the news:


Also, this is just free. It’s not like, free because of pandemic, it’s just part of the usual free goodies we always get because we’re blessed to be using music software, apparently! But Filterstep looks like a really cool sequenced filter effect for iOS, macOS, and Windows, with a gorgeous interface. Please go use it. I’m afraid to add another filtered effect to my own setup. I rely on you. Thanks to Synthtopia for catching this one.


Native Instruments came out with their free Analog Dreams instrument, which despite the vaporwave graphic actually covers the full range of analog synth sounds. They’re not new, but while you’re on NI’s site, check out the free Mikro Prism, superb Blocks Base modular synth. and other free stuff.

Analog Dreams

Hainbach has taken his gorgeous aesthetics with tape and analog equipment and made a free sample pack dubbed Isolation Loops. I hear people are already making music with them, so one lovely side effect of this project is people sharing music and not being isolated.

Plus some deals!

Humble Bundle may be best known for gaming and other bundles, but they have a unique Music Producer bundle now. There’s some great Applied Acoustics Software (AAS) starting at just one $USD/EUR. But the really important story here is that they’re supporting Musicians On Call, an organization that sends live and recorded music to people in hospitals. And even if you don’t support this software, I recommend checking out that organization.

Humble Software Bundle: Music Producer

Air Music Tech Ignite is US$9.99 (normally 70 bucks) with a whole bunch of instruments and simple recording facility. There are tons of options here that make this ideal for keyboardists and songwriters, or beginners looking to get some ideas going. And you can use it as a sketchpad for other software – so even if this seems basic for you, it might be a place to start songs before you get lost in more advanced environments like Pro Tools.

Got Ableton Live and ready to finally learn how to use it? Well even with Ableton Loop canceled in Berlin next month, you can get a full 4-week course for free from Berklee on Live Fundamentals. It comes from Erin Barra and Loudon Stearns as instructors, so we’re talking some excellent fundamentals.

Take Your Free Ableton Live Fundamentals Course

Visualists, I’ve got more for you coming shortly.

I’m sure there’s more I’ve missed here; if you’ve got something to share, let us know. I expect we’ll have some great music at the end of all this.

I know you don’t need reminders to stay home and stay safe at this point. So let me remind you instead that your music matters, there’s never too much music, and whether it’s good enough or not is never the question to ask. We all need that reminder now and then. But it’s good to know that even if we’re having some solitary time with music, other people are out there working, too. Look forward to chatting and hearing what you’re making.

The post Arturia, Logic, Final Cut, Reaper, and more offer these free tools while you stay at home appeared first on CDM Create Digital Music.

There’s a new home for custom visuals and graphics FX – and a $99 on the VDMX VJ app

Delivered... Peter Kirn | Scene | Thu 26 Mar 2020 6:41 pm

Find generators and FX for VJing, Motion, Final Cut Pro X, and more – or make your own, in GPU-accelerated ISF format. And need a VJ tool? VDMX is on sale for $99.

That’s the news from our friends at Vidvox, makers of VDMX, and developers of the open GLSL format for generators and effects.

Okay, first – that shader graphics effect… thing. Interactive Shader Format, or ISF, is all about having plug-ins for visuals to make graphics and add effects, accelerated on your computer’s graphics card. There was already a website, but now it’s far cooler.

For visual producers, you can check out sample shaders and browse and search. So this is an easy one-stop shopping guide to some new eye candy:

Browse ISF shaders

Want more resources? Check those here, including with applications you can work with:


If you’re handy with code and ready to make your own shaders, the site revision is also ready for you. So – on this week’s theme of “I’m going to learn sword swallowing and Jiu jitsu” yeah, there’s also a primer to learn GLSL, plus an ISF quick start. And actually, if you’re a CDM reader making visuals, getting into a little code for GPUs is not a bad idea.

Once you’re up to speed with your skills, there’s a new code editor – with better error checking, which you’ll want while you debug as you learn.

All of this looks Mac heavy at first glance (VDMX is Mac-only), but TouchDesigner and openFrameworks and Max are all supported, too, so think Apple visual tools, but also VJ apps, but also dataflow environments and live coding tools. There is support for Linux and iOS as well as Mac and Windows in the C++ framework, and there’s even a browser, JavaScript version. See integrations.

But wait – what if you do have a Mac, and you want VDMX as a cool live visual environment? (And it’s one that can easily host all these cool new shaders you just coded yourself / found on the site.) For the next month, the “student / struggling artist” cost is down to US$99. (Full licenses are on sale $249, for any of you mercifully not struggling right now.)

Info on the sale:


Dig through, as they have a bunch of freebies on their site, too.

And I’m having lots of fun here:


Pictured at top: Dédoublement, Cie Cobalt, mapping by Silvia Fabiani, built in ISF.

The post There’s a new home for custom visuals and graphics FX – and a $99 on the VDMX VJ app appeared first on CDM Create Digital Music.

Add these Max for Live devices for inspiration in Ableton Live – or learn to make your own

Delivered... Peter Kirn | Scene | Wed 25 Mar 2020 6:43 pm

A surprising number of Ableton Live users haven’t discovered the power of Max for Live inside. Here’s how to get started – but, oh, you’ve seen it all before? Okay, smarty-pants, learn how to make your own devices, too.

Beginners and those needing some fresh ideas…

Anxious times can be a big barrier to inspiration. And that’s why this guide is useful now. Max for Live add-ons can be particularly useful not just for solving problems, but pushing you in a different direction or getting you back in a state of play. That’s been useful even for me – I was feeling stuck, and wound up finding some new tools that got me going again, just while writing this.

As long as you’ve got a copy of Ableton Live Suite, Max for Live is waiting for you. If not, it’s also a pretty major reason to upgrade.

I’m thrilled to again partner with Riemann Kollection to make a complete guide:

Read up, get started.

Max for Live: the techno producers’ guide

It starts at the beginning; no previous knowledge – what Max for Live is, how to use it, and how to get started with a lot of useful devices in a host of different categories.

Max for Live has an impassioned following, but I suspect a lot of users of Live are afraid to go there. Here’s the thing: you really don’t need to know how to use Max. The fact that Ableton baked in one the most mature and most powerful toolkits for making music production and live visual inventions means you can use the tools everybody else is making.

As it happens, ELPHNT also produced a two-part list of their favorite devices on maxforlive.com. I purposely ignored this list, and still imagined we would overlap. Speaking to the depth of the M4L world, not one device is on both lists. (I even plugged ELPHNT on my list, but it’s not in the Ableton.com story!) Read: [ Part 1 | Part 2 ]

… and those ready to make your own stuff

Okay, maybe you are curious to dig into Max and Max for Live and try customizing devices or creating your own from scratch? And, uh, maybe for some reason you find you have a bit of time on your hands? Well, you’re in luck.

Ableton has an official page with resources. Pay particular note to this line – “Access the Max for Live built-in lessons by clicking on the Help menu–>Help View.” That’s really where you most likely want to begin.

Max for Live tutorials and learning resources [Ableton]

Probably the best comprehensive resource is this Kadenze course from the imimitable expert Matt Wright; it’s a full course equivalent to serious college instruction, and it’s free:

Programming Max: Structuring Interactive Software for Digital Arts

But for a single video intro, try this:

or this –

or this –

More recently, Cycling ’74 also shared best practices in making devices, which would be useful if, uh, you want to share with others. (I mean, for yourself, be as horrible as you like!)

Multichannel audio is what is really useful in the most recent major upgrade:

Finally, because of the current crisis, you can shadow a college course in Max here. I once taught this course for CUNY. I would not be able to do it now – Max has changed radically since I did it, and I have forgotten a bunch – so I’ll be checking it out! There are some sharp tips in there. (and if you know Max a bit, crank up the speed and pretend you’re Data from Star Trek as you go rapid-fire through the parts you know.)


Well, this is about play. So as I said, it’s totally valid to just grab a fun device or two and … try something.

So I still recommend my guide – as a break from dev work, or if you realize your brain is more tired than you thought and you got over-ambitious (never happens to me – I’m lying):


See the complete Riemann techno producer knowledge hub for lots of advice.

Images courtesy Ableton.

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Patterning is as unique and as circular as drum machines get – now on your iPhone

Delivered... Peter Kirn | Scene | Mon 23 Mar 2020 7:10 pm

Stuck for ideas and inspiration? Maybe you just need something on your iPhone that brings its own groove and is more, um, circular.

It’s a match that was waiting to happen – the handheld interface of an iPhone meets the drum machine and pattern maker that runs in a circle. That’s a beautiful way to visualize time, waiting only for the modern smartphone screen. (And Star Wars fans, am I the only one who finds this reminiscent of the episode IV radar displays? In a good way.)

It does meters. It does polyrhythms. It has a sophisticated sound engine. It sequences parameters as well as the beats themselves.

Patterning 2 had already matured into a rich, circular interface for exploring rhythm and beats and grooves. And if you want to kick back with a big interface and explore, the iPad is still the way to go. Patterning then becomes an instrument on its own, or a sequencer for other iPad apps, or – thanks to full-blow export and Ableton Link – a sketchpad for your DAW. Ashley Elsdon wrote about this back in the day:

Patterning 2 arrives with a host of new features to play with

But if you’ve got an iPhone handy, and you like having this palm-top based, Patterning 2’s arrival for iPhone will be just as welcome. Okay, “mobile” is not really a thing on planet Earth for most jobs at the moment, but that could mean doing this while cooking, or leaning back in your chair and away from home office and conference calls for a quick groove exploration.

One other bonus on the iPhone version – haptic feedback. That circular interface looks like it belonged there all along.

It’s been amazing to see how iOS has matured. When we started, it was all about simple toys and experiments. Now, the iOS tools sometimes can seem more sophisticated than many desktop counterparts – and they’re all about spawning ideas, jamming with others, and connecting ideas to other apps (whether on mobile or desktop).

That is, basically, what you see in this list:

  • 8 Independent Loops Per Pattern
  • Unlimited Patterns
  • Automation Layers like Coarse Tune, Ratcheting, and more.
  • MIDI Output
  • Export to Ableton Live Set – Comes with Ableton Live 10 Lite
  • Export Perfect Audio Loops in WAV or AIFF format, Stereo or Multitrack Output
  • Export Songs to Patterning 2
  • Import Songs and Drumkits from Patterning 2 (some limitations apply)
  • Ableton Link
  • MIDI Clock Send and Receive
  • Inter-App Audio Clock
  • Multi-track Inter-App Audio Output
  • Hundreds of free factory and user created drum kits
  • Quantize Pattern Launch
  • Haptic Feedback!


The post Patterning is as unique and as circular as drum machines get – now on your iPhone appeared first on CDM Create Digital Music.

Live coders from all over the world are playing music and visuals live online, right now

Delivered... Peter Kirn | Scene | Thu 19 Mar 2020 9:37 pm

It’s just business as usual for the live coding scene and algorave movement. From every corner of the globe, freely-coded performance is happening for four days straight – now.

They come from Brasilia. They come from Detroit. They come from Indonesia and Antwerp, Ukraine and Mumbai, Rome and Miami and Japan. They’re running free software and browsers and DIY electronic and visuals. You can dance to what they’re doing. You can’t dance to what they’re doing. This is an experiment.

They’ve all come to Algorave.


Something rather nice is on as I type this.

Check the full schedule:


This is not a new idea, either – TOPLAP live coding community is using this event to celebrate their sixteenth anniversary. So while everyone else is suddenly discovering the fragile nature of our world and the distances between us, these are tools with a significant head start. And the tools are not a gimmick, either – because they’re free and open source and run on low-end hardware, they’re uniquely global and agile.

They’re part of the fabric that makes electronic music now dynamic – and durable.

So algorave on! And hi to some friends playing, see you online soon!

Happy March equinox everyone – spring to the northern hemisphere, fall to the southern. Sonic festivities on the Eulerroom Equinox stretch through 1:30 Greenwich Mean Time 23 March.

(Wait, make that Stardate 97813.31 – 97824.25.)

Want some tools to try live coding now? Many are approachable even if you’re a non-coder – don’t be afraid to try stuff out and break things! Check out:

Gibber – great place to start in-browser

TidalCycles for music

Hydra for visuals in the browser (see our interview with Olivia, the creator)

Side note: I know a lot of these artists and developers will need support soon, in this health and economic crisis. I know a lot of them needed it long before things have gotten tougher. Let’s keep that conversation going here on CDM, too, and find out what solutions we can create together. Don’t hesitate to be in touch and let me or other members of this community know how you’re doing and what you need.

The post Live coders from all over the world are playing music and visuals live online, right now appeared first on CDM Create Digital Music.

Ableton are ready to get you off the grid with the new FlexGroove device

Delivered... Peter Kirn | Scene | Thu 19 Mar 2020 4:15 pm

You’ve got tons of devices that let you tweak sounds of synths and effects with knobs. So why not warp time, too?

That’s the idea of FlexGroove, the latest add-on for Ableton Live and Max for Live. Just as you use envelopes and breakpoints to control volume or effects parameters elsewhere in Live, this tool lets you go in and speed up time, slow down time, and transform groove and meter just as easily.

Even as a big believer in words (words rock!), that is something that screams out for a demo. And once you hear this, you’ll get right away why you might want something that does this:

Speeding up (accelerando), slowing down (deccelerando), expressive give and take (rubato), and meter changes are essential building blocks of music in a wide variety of genres and cultures. So on some level, it’s weird that they tend to be hidden in machine music interfaces, in hardware and software – or at least relegated to working on just a master tempo track.

That said, putting them into a dedicated device like this means you can treat these elements in a focused, compositional mindset. And device creator Martin von Frantzius, a composer and musician himself teaching in Germany, has pulled out all the stops.

So you get six timing modes, each with its own presets:

  • Free time (drawn in with breakpoints)
  • Acceleration
  • Deceleration
  • Sine/half sine curves
  • Ratio – (which lets you do metric modulations)
  • Swing

And there’s a built-in pair of step sequencers, plus controls for humanization and velocity, plus probability.

Basically, you fire this up, then spit out clips. Some of the ideas here are really performative, so it’s a shame in a way that it doesn’t focus on playing these things like an instrument. On the other hand, I think for composers, someone adding excitement to a score bed, creating a dynamic break/drop in dance music, and otherwise spawning a ton of more interesting clips – it looks seriously addictive.

And it should also cure you of the dreary feeling of a bunch of on-the-grid monotonous and unmusical clips in your Session View. I just now got the NFR, but this looks worth 39EUR to me.


Got patches of your own, or favorites from maxforlive.com? Let us know! The more time-warping devices, the merrier, really!

And it’s great to see Ableton continue to use ableton.com as a kind of label for creative Max patchers.

Check out Martin’s page for tons of interesting teaching and engineering and violin and composition projects, like an online church-organ you can play, and — this, for more experimental time-bending with violin:

The post Ableton are ready to get you off the grid with the new FlexGroove device appeared first on CDM Create Digital Music.

Here’s some Sanity, literally, and Amiga Dreams as read for you in French

Delivered... Peter Kirn | Scene | Thu 19 Mar 2020 1:56 pm

Now is the time to finally catch up on … YouTube videos by a French guy of 1993’s Francophone Amiga publications. Why, how were you going to finish that sentence?

Consider it some moments of serious, chippy nerd zen. Let me explain, sort of.

As part of my continuing 15-year mission of focusing CDM on obvious clickbait and stories that appeal and resonate with average readers, I … well, I somehow just got lost in a clickhole that involved a 1993 issue of a magazine for the defunct Commodore personal computer platform.

Trackers, a form of music editing software, have been on the mind lately. In addition to frequent software updates of modern and ported trackers for mobile, game, and desktop platforms, we now have not one but two dedicated hardware tracker platforms announced this week. That’ll be the Polyend Tracker, and the Nerdseq Portable.

You don’t need to know that trackers were most popularized in music making on the Commodore Amiga, but they were. So let’s enter a wormhole to the 90s and see what that world was like.

YouTuber Gunhed TV pages through the first issue of Amiga Dream, both on paper and with excerpts of what shipped on the bundled floppy, in a wonderful piece of media archaeology:

It’s notable even casually how much creativity is evident in these pages, compared to what made up the more general purpose-oriented PC mags of the same era – or for that matter how people think of computers today. Games mix with art (and uncensored and suggestive art, in an era before censored Tumblr and Facebook). Creative tools mix with discussions of the hardware. And music tools are just an expected category.

While we’re all stuck looking at our screens, maybe it’s time to bring that back.

The demoscene did sometimes pack strange little audiovisual etudes onto those disks evidently, as we’re treated to 1993’s prize-winning Extension:

Pygmy Projects – Extension

Code: Cenobit, Coconut, Flame
Graphics: Cenobit
Music and Text: Jester

For another 1993 creation, there’s Sanity’s Interference:

Code and Text: Cosmos, Microforce

Music: Virgill

Graphics: Cougar, Havok

I’m not sure how well these hold up aesthetically, though at least they do so ironically. I rather enjoy seeing visuals that are engaging today mixed with ones that feel trapped in 1993, as a kind of perspective.

The demoscene lives on, and embraces some of these earlier technologies with expanding technical expertise and artistry. It’s not only a retro impulse, perhaps, but as with any medium, it means that someone sticking with something like the Commodore 64 as their canvas now has years of added technique gained.

So for instance, here’s an utterly gorgeous C64 demo (going back to something far more restrictive than an Amiga):

Coma Light 13 by Oxyron
Commodore 64 demo, Full HD / 50 fps capture + real SID recording.
Demo released at X2012 demoparty, and won the 1st place there.

Demo credits:
Code: Axis, Bitbreaker, Peiselulli
Music: Fanta Gfx: Veto, Yazoo, Bitbreaker
Text: Yazoo Help: THCM

If you click through to YouTube there are even binary downloads.

Okay, so actually what started as a random distraction is a decent reminder – now that we are restricted from in-person events and staring at our displays, maybe now is a good time to reconsider what art can do inside those bounds.

And meanwhile, knowing which site I’m posting this on and that readers here are far more knowledgeable about this that I am, if you’re right now saying, “what is he doing?! I can list off an entire multi-page history of demoscene that properly explains this and shows other demos that are actually relevant and not random like the ones he chose. Heck, I even know a better resource for Amiga magazines of the early 90s read in not only French but out loud in Czech, Polish, and Ukrainian.”

You’re hired. Get in touch. Seriously. Let’s do it.

Oh and if that wasn’t your thought and you only wondered why I’m off on this tangent and not doing the hundred things I’m supposed to be doing right now, I blame HAINBACH.

Seriously, be careful what you tweet at me. It’s like throwing a Cheeto into the polar bear tank at the zoo, only with my brain. Terrible consequences.

Previously in unicorn chasers:

The post Here’s some Sanity, literally, and Amiga Dreams as read for you in French appeared first on CDM Create Digital Music.

Free sound and music code environment SuperCollider is adding Ableton Link support

Delivered... Peter Kirn | Scene | Tue 17 Mar 2020 6:00 pm

The free, powerful tool SuperCollider is adding support for Ableton Link for getting jam sessions, gear, and software on the same groove, alongside other fixes.

SuperCollider, if you don’t know it already, is a massive tool for making your own synths, effects, and musical tools. It’s all created using an elegant language, tons of customization options, and a massive library of building blocks for just about the entire history of sound generation and processing and musical patterns. It takes some time to learn and master, but with a huge community and tons of examples, it can teach you the basics of synthesis and effects in the process.

3.11 is currently in beta. Ableton Link support is the headline here, but 3.11 is full of fixes and additions. A lot of that is thanks to contributions from the community – showing a really active, thriving open source project.

So if you’ve been waiting to play around with SuperCollider for the first time, or revisit it, you may have picked a good time. (Just think about 3.10.3 if you’re not a beta tester sort of person; it’s been really stable for me.)

Ableton Link support means you can easily sync up time with other software (across mobile and desktop) and a handful of hardware, too. And I expect this will make waves in the live coding world, too – because even apart from people using SuperCollider directly in live coding performances, it’s also the basis of popular environments like Tidal Cycles. (See my write-up of version 1.0.)

Check out the beta notes if you’re ready to give this a try – and yeah, it’s another great choice while we’re isolated right now:


LinkClock is the class; I need to check it out myself. Stand by.

Your source for all SuperCollider stuff – and it’s full of great tutorials, too:


Completely free, Mac, Windows, Linux, Raspberry Pi, BeagleBone, whatever.

The post Free sound and music code environment SuperCollider is adding Ableton Link support appeared first on CDM Create Digital Music.

Vuo Pro 2.0 for Mac lets you make your own video plugins, VJ FX – and now there’s a free version

Delivered... Peter Kirn | Scene | Wed 11 Mar 2020 12:36 am

Vuo is a visual tool for making effects, generators, and transitions for live visuals/VJing and production. And they’re so keen to get artists going, they’re giving away an edition – complete with online training.

Or to put it another way – Quartz Composer is dead. Long live Vuo.

Version 2.0 is a major new update, with powerful export capabilities, and now includes the free open source “community” edition for personal use and small organizations.

A lot of visual tools now hit one of two extremes. For beginners, there are presets – often too rigid to really be adapted, so you wind up hunting around for something that maybe kinda sorta fits what you want to do. At the other end of the spectrum are advanced development tools that let you make anything you want – provided you can deal with a steep learning curve.

Vuo strikes a nice balance. It’s a friendly, modular tool – you patch together what you need visually, by connecting virtual cables. But it offers some major under-the-hood power, even without overwhelming beginners. And you can run what you create in a wide variety of production and VJ tools, provided you’re committed to the macOS ecosystem.

If what I just said reminds you of now fairly-neglected Apple tool Quartz Composer, that’s exactly the idea here – only more powerful, more stable, more compatible, and more modern.

But this is a big deal, especially for people working as audiovisual artists or VJs. So you’re making your own experimental audiovisual show for yourself – zero budget. And a musician friend has you VJing for them. And then you found a theater gig for a show. And you’ve got a day job where you’re editing video and doing commercial effects works.

As of version 2.0, this one tool lets you do all of those things, within a single environment, because what you build works in all these formats:

Production. FxPlug for Apple Final Cut Pro X and Apple Motion

VJing. macOS FFGL (FreeFrame 1.6+) which works in VJ apps (Resolume, VDMX, Isadora 3, and – okay, I don’t know this one, but maybe you do “Magic Music Visuals”). Oh yeah and even Mac screensavers, which is at least a nice way to show off while your Mac is running.

Make an image filter – publish it to Final Cut Pro X (among others).

And that, in turn, suggests many options from live music to theaters to motion graphics. (Oh yeah, and with countries around the world shuttering clubs and theaters, many of us may suddenly be looking to pivot for a while to doing that kind of work. Ahem.)

Plus there are a lot of possibilities in the provided “nodes” (think modules or objects). The software handles 3D objects, video and image manipulation, projection, 3D warping, even stereoscopic effects.

It’s performance-friendly, too, with input from live video, live audio, body tracking, gamepads, sensors, and the like. And yes, it works with various stage and AV gear.

Advanced coders can even make their own nodes via a Cocoa or C++ API, with full support for Objective-C and GLSL.

Here’s an intro:

Hey, I’ve been Windows-focused for the last couple of years, and for the first time, this makes me a little jealous again – and wistful for some of the simplicity of Motion and Final Cut.

Version 2.0 offers a vastly cleaned-up UI (like now I definitely want to try it), a lot of new and improved nodes, community-requested features like comments, and all these new export abilities.

The personal edition is broader than non-commercial, too, so you can use this for free when you’re on a limited income – as many artists, freelancers, and new businesses are.

Who is allowed to use Vuo Community Edition?

But even Vuo Pro is US$299, and now includes more language translations.

You need macOS 10.10 Yosemite or later, but – yeah, that’s not so rough. I’ll test it on my fairly low-spec MacBook and let you know what happens.


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