This was my second time at Loop, a summit for music makers put on by Ableton in Berlin, Germany.
The truth is that I’m still recovering from Ableton’s recent inaugural event, Loop - A Summit for Music Makers, but I thought I should get to writing about it while it’s all fresh in my mind.
Our ever-popular Cycles series of sound libraries, produced by Ron MacLeod, is now available for download in our online store for a reduced price.
This is a 4 track live looper.
This is my ever growing evolving performance patch.
So far we have talked about how Max for Live will allow you to create your own custom Max devices that run inside of Ableton Live. Most of the examples you've seen so far have been pretty similar to your average plugin, with the fundamental difference of being to edit the device in place. That in itself is pretty spectacular, and probably enough to please a lot of people and keep everyone busy. Well now I'd like to talk about a couple of features that really make Max for Live unique and pretty exciting: namely, the Live API objects.
At this point, we have a pretty useful guitar processing "rack", but it could use a little spice. This spice will come from two additional processors: a looping delay unit, and a basic reverb system. Also, to help keep the output useful, we will drop a limiter on the back end of the entire rig.
This article provides a brief tour of the features we've added to Max for creating Live devices.
Now that I've got a nice generative patch and a way to hear it, I thought it'd be nice to make a few improvements and extensions that would let me begin to specify larger structures - to generate instructions to my generative patch, as it were. While I'm sure that the world is full of people who want ways to have the same thing happen again and again, I'd like to do this in ways that offer a little more freedom than that. This short tutorial will add a modest number of these kinds of changes.
The ReWire concepts we've discussed in the previous ReWire articles were based on the typical needs of most users -- piping information between Max/MSP and a ReWire host or client application. However, ReWire can also be used to take otherwise upstanding audio applications and use them for unconventional purposes. The key to this is the hostcontrol~ object, which allows a Max patch to exert control over the transport of the ReWire host. Combining this with some common Max techniques can turn the most staid audio app into a subservient audio zombie. Read more...
Zuckung from Amoebazoid is the newest c74 music release. Take a quick look at what Amoebazoid, himself, has to say about his new album.
In our last installment, I tried to present some really simple and (I hope) explanatory samples of some of the easiest ways to generate and organize variety on the fly using radiaL. One of the things that those examples did that I didn't talk very explicitly about involved loading a single loop on multiple channels and then using radiaL's ability to playback sections of that loop in a nonlinear fashion to create evolving structures. In the interests of "ear training," I suggested that you mute some of the loop channels as you went along in order for some parameter to be easier to hear, but it's my hope you just turned all the channels on and listened to them run when you were done following my instructions. Just in case you didn't, I've included another loop constructed so that you can generate varying patterns by loading it on multiple channels and then playing varying sections of the loop with different pitch/time grid and transposition settings. It's called "moogphrase.aif" Perhaps a little play with this is a good warm-up to what we're going to look at next.
I've been asked to write a couple of articles that discuss how I learned radiaL, and how I approach using it in a live performance setting -- both as a soloist and in an ensemble setting. While there are a good number of people out there who use radiaL, I'm surprised to discover that there are not nearly as many people who do what I do -- namely, to walk out on a stage, launch the program, and start improvising. While it seems a perfectly natural thing to do from my point of view, it may not necessarily be clear how I learned radiaL and came to my current performance practice (In addition to Voiceband Jilt, my release for c74 records, you can also find some downloadable examples of my work on my downloads page and some online release material from the label Palace of Lights).