Enough with pristine, immaculate in-the-box digital production. Let’s get back to grime and dirt. Gorgeous distortion is on offer any time Legowelt is on a sound system live. So it’s great to see the same approach in a free sample pack. This is not a “Top Deep House Production Kit.” It’s samples Legowelt dragged off of old Amiga discs, cranked to be even more evil.
Forget about whether anyone is going to listen to that release, let alone whether you’ll make money. Finishing is a beautiful feeling. Something happens when you get to that phase of adjusting the final mix, bouncing for mastering. For many of us, that last step involves a stereo bounce. But I think it’s high time to start thinking in terms of stems (both in the lowercase, and the all-caps STEMS Native Instruments is keen for you to use).
Remember 1995? Computers onstage were still a comparatively risky proposition – often relegated to MIDI, more prone than today to instabilities, and absent today’s DJ and live performance apps. Monolake, which is now just Robert Henke, was both Robert Henke and Gerhard Behles. (Gerhard is now plenty busy being CEO of Ableton.) And then there was Monolake’s PX18 sequencer, a step sequencer – cum – timeline with loads of interesting tracker-style and mathematical-musical features.
Elektron’s machines are so beloved, they’re almost an electronic instrumental category all their own. But much of that love is focused on the hardware workflow. The challenge lately has been how to make the latest generation of Elektron hardware fit better with other gear – and specifically, the computer. Some of those improvements are coming from Elektron. But some, too, come from third-party developers. And that’s the case with a useful Mac app.
The funny thing about Ableton Link is that it doesn’t require Ableton Live. It isn’t even an app. It’s a sync technology, one that allows software to jam together, wirelessly, without any one clock having to be the source or “master.” But as of today, if you do use Ableton Live, that wireless magic is built-in – and requires almost no configuration.
Apple is also releasing today a 2.1 upgrade to GarageBand for iOS. The mobile sibling of GarageBand and Logic on desktop doesn’t get a whole lot of attention, but it’s a reminder that music creation remains central to Apple – even the Apple that sells the world’s favorite phone, not just the Apple that sells the Mac. GarageBand 2.1 includes some features you may or may not care about. But there’s reason to take notice.
Technology has done a strange thing to musicians: it’s turned us all into, well, loners. It didn’t used to be this way. Musicians on instruments ranging from folk ensembles to symphony orchestras are able to join up and keep time with one another. So why not do the same with tech? Ableton’s new Link technology promises to allow musicians to jam easily. But it isn’t just for Ableton Live. Today, iOS support is officially launching, allowing you to jam with supported apps even without a desktop/laptop computer involved.
IRCAM is Paris’ legendary research center. It’s the place where the original Max was born, and it’s still a hub for some of the brightest minds in sound in the world. IRCAMAX 2 is a new set of effects and instruments for Max for Live. And it does some amazing stuff – though maybe the best way to demonstrate that is not to explain, but to let you listen. They’ve made not just demos but some beautiful music, via artist Najo:
It doesn’t have screens. There are no giant wheels or touchstrips. There’s no complex software integration, or built-in mixer, or pads for remixing. But what the DJ4 is is what you might be missing in other DJ controllers. It’s got the controls you need in a tiny, tiny footprint that won’t have you hunting for new luggage or scrambling around a venue to find a bigger table because your gear won’t fit in the booth. (Ahem, yes, you know who you are, giant controllers.) And unlike the increasingly branded, computer-tied world of DJ controllers, this one also works with anything …
You’re probably so used to sync being broken that the first time you see Link, you might not believe what’s happening. Link began its life as a research project and has turned into a full-fledged product from Ableton. But unlike Push or Live, Link itself isn’t something you buy. Instead, it’ll be built into software you use, and unlock seemingly magical wireless (or wired) sync. The upshot: the electronic jam session is about to get a whole lot easier. And with a beta out today, that’s not some unknown future. It’s right now.