Years ago, when Ableton’s Operator FM synth designed by Robert Henke made its debut, it was a revelation. Its clear panel design and flexible architecture made FM synthesis more accessible to countless Ableton Live users. But now Operator, while still a great go-to instrument, certainly deserves some competition. And that makes Bengal special. The production of Max for Cats (and Christian Kleine, another key designer of Ableton instruments), Bengal also innovates in the area of clear design and architecture. And with a semi-modular design, it goes further than Operator in opening up avenues for creative sound design.
Ableton Live 9.6.2 is here. Apart from a slew of bug fixes and some improvements to how the Link connection indicator works, there are a lot of improvements to Push, via software and firmware – even down to details like making the potentiometers more jitter free. That’s all well and good. But the important thing is that some of these small details could really change the way you work with Push for the better. The big one: you can now copy and paste clips to any slot on the Push, just by touching the pads. It’s a little thing, but …
We have the technology. We have the capability to play live sets on mainstages. And for a brilliant example of that, look no further than the frenetic, exquisitely hyperactive acid performances of Skinnerbox. Their set at Fusion Festival from this weekend demonstrates that you can command massive mobs of dance lovers outdoors with live sets, too. And maybe you thought such things were confined to chin-scratching handfuls of nerds.
For years, the criticism of laptops has been about their displays – blue light on your face and that sense that a performer is checking email. But what if the problem isn’t the display, but the location of the display? Because being able to output video to your hardware, while you turn knobs and hit pads, could prove pretty darned useful.
Isotonik’s £22 PrEditor is the powerful mapping functionality Ableton forgot. It lets you customize the mappings of a variety of controllers to your music software, opening up custom controller arrangements and tailored interactions to support the way you play. And the latest version does still more. Hackers and patchers will love this – whatever tool they use. If you use Reaktor, that environment is available – doubly useful now because of Reaktor’s beautiful Blocks modular environment. (There are quite a few things I prefer in Reaktor, so being able to map its controls to my Push means I may completely …
You can already connect your music software to MIDI devices. But why not Internet data, video, the weather, or physical worlds of Arduino and LEGO Mindstorms, too? With a new pack released today, making connections is a matter of adding some building blocks.
Want to go from four on the floor to, sort of four thousand all over the place? Yotaro Shuto is a Japanese electronic musician who performs in DUB-Russell, and he’s decided to turn his monster Max performance patch beat machine into a product. That’s meant taking it to Kickstarter.
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.
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.
Ableton’s Push 2 has a big, beautiful, color display. But what goes on that display is limited to what Ableton has built in – or, rather, it was, until now. London-based producer/hacker sigabort has already built a Max object that lets you access the display directly as a high-res, color texture. Max boffins, this means you can even use Jitter objects directly. And for those who have no idea what the previous sentence just meant, think of it this way: Max patches will now be able to create their own full-color visual outputs, for practical or entertainment purposes. (Max for …