With so much to talk about in recent days about Prince’s legacy, it’s possible to overlook just what a deep impact he had on production and sound design. Working with Roger Linn’s classic boxes, the LinnDrum and LM-1, the artist left an indelible mark on the sound of pop. And you don’t have to slavishly copy those contributions: by learning how they’re put together, you can understand what went into them and follow your own sound. Just that sort of education in sound design – something for fans and students – is embodied in a free download for Ableton Live …
This one’s too good to wait. Gustavo Bravetti, the Uruguay-born producer and DJ, is already something of a maximalist. He’s the sort of person who can rock alternative controllers live on a mainstage in front of massive festival crowds – the powerful counter-example to the notion that such high-pressure gigs have to be press-play. And now, he’s been hard at work on a powerful tool for expanding the possibilities of performance on Elektron’s hardware, all using Push for control. I could ramble on, but the best way to follow this is to watch the extensive tutorial video he’s just posted:
Soundware is everywhere, from endless catalogs of loops to yet another pack of sampled vintage instruments. But apart from questionable quality as the market grows crowded, the other simple question is, just how should these packs be assembled? SympleSound is what happens when a sound designer decides to treat the sound pack like an instrument unto itself – not just content, but a set of tools.
Technology’s record in the last century was often replacing music making with music consumption. But in this century, that might turn around. Google seems to hope so. Today, the company posted a set of free sound toys on its site, all running in your browser. They’re fun diversions for now – but thanks to open code and powerful new browser features, they could become more.
By letting you get creative with audio, Ableton’s Simpler and slicing workflows have always opened up musical possibilities, and they got a lot more powerful in Live 9.5. But it could do even more. Developer Mark Egloff has released four clever Max for Live patches that let you slice without Push, chop in new ways, and more.
Last November, I went armed with some LOM label microphones to the Netherlands to find out what sounds you could discover in a space research facility. That exploration produced a lot of sounds, and one way to play with them was to transform them into percussion. Now you can download the drum kit I made for your own use, or to create your own instruments.
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.
iZotope has a new delay out, and like many plug-in developers of late, they’re using a limited time free offer to rise above the din of Internet noise. But while the new “DDLY Dynamic Delay” is free, it’s not something cut-down. On the contrary: you might fall in love with this delay right away.
If you’re using Ableton Live, you simply need to know about Sonic Bloom. It’s like a spa-slash-university for your Live-using self: you’ll come out refreshed, smarter, and even a bit better looking. Creator Madeleine Bloom has been busy. The site, at the age of three this month, now has five hundred tips, tutorials, and informational articles on Ableton Live. (And, occasionally, you’ll pick up an Oblique Strategy, or two – like fill every beat.) There are some ninety freebies, too – from Live Packs to skins and colors to keep your Live set looking spiffy. For instance, just this week, …
What initially seemed to be a conversation about streaming revenues for artists more or less this week became a conversation … about Taylor Swift. But it’s the debate behind Apple Music that is somewhat puzzling. Taylor Swift wasn’t the only one focusing concerns on Apple Music’s quarterly free trial. Labels were fixated on the same worry. The reason this is odd is that it ignores the fact that even when users pay for a subscription, rates are woefully inadequate. Music Business Worldwide reported a study from France that confirms what many had suspected. Majors get a whole lot of the …