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h_double posted:Ah, that's cool about expanding the VU pane to show the peak meter. I still like having numbers printed right on the meter strip, and being able to zoom in so the meter shows a specific amount of headroom, but even being able to see the peak volume per track is a big help.  Does anyone know if you can insert effects before Live's recording path, or do I still have to bounce from one track which has the effects (compressor, etc) to another which performs the actual recording into a clip?
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Jun 12, 2009 17:55
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It's also worth checking to see if your record channel is also sending its input out the master and back into the recording stream, resulting in phasing/distortion that is dependent upon your interface latencies.
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Jun 14, 2009 08:24
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RizieN posted:Bummer thats PC only A lot of Glitch's functionality can be emulated by creating a Live Rack that contains various effects (phaser, supatrigga, bit crusher, beat repeat, etc) with the different chains assigned to MIDI notes. Then, throw a cat onto your keyboard, sequence the notes in dummy clips, and apply arpeggiators as required.
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Jun 15, 2009 22:04
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Anyone know of a similar thing for mac, preferably free, but I could always pay if it's worth it.
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Afro Thunder posted:Anyone have recommendations for a glitch type VST? Beat repeater just isn't hacking it and Lucifer isn't available anymore. 1. Slice the clips to beats (y'should get your workflow practised so this literally takes seconds in Live), 2. Map the clip slices to a keyboard split with an arpeggiator against them. 3. Apply or build a big ol' effects rack on the channel with lots of reverse, granular delay, pitch-shift, distortion, whatever-you-fancy. 4. Map each effect's on/off to notes above the keyboard split, and map primary parameters to MIDI knobs. 5. Jam down chords to arpeggiate the beat slices with one hand whilst the other chord triggers effects on and off, parameters tweaked by hand or foot pedal, assigned knob, whatever. 6. Get lost in sound sculpture fun land. 7. Remember to hit record and chop out good bits later*. * I can never be bothered with this. Please do yourself!
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Feb 4, 2010 03:22
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Does your SQ80 have anything in its onboard sequencer? If so, I think it'll automatically start playing that when receiving MIDI start and clock signals from Live.
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Oct 15, 2010 06:08
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A) Slap an EQ8 on the channel with the source track and filter out as much mush as you give your ears strong rhythmic input. Then warp it in looped chunks of 8/4/2/1 bars (depending on how much error there is) against another channel which has a strong tick-tok-tok-tok metronomic Operator patch. B) Pay one of these warping services a dollar or two to do it for you. C) Colour the track a really distinctive colour (hot pink or bright red) and ensure you only mix it in/out with beat-less tunes or breakdowns. ynohtna fucked around with this message at 18:08 on Nov 24, 2011 |
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Nov 24, 2011 18:05
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FLX posted:Is there a way to separate incoming MIDI notes into tracks? E.g. if it's a C3, record it into track 1, if it's a D3 put it in track 2 etc.? A drum rack is a group and can have it's channels expanded for custom processing or even sub-grouping. Saves the aggravation of configuring a bunch of chains.
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Nov 30, 2011 00:39
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dolphins are gay posted:They're going to get sued or bought. Hopefully bought. I doubt either of those will happen. There's really no IP or patents in DAW software to pursue or infringe. As for acquisition, the music tech industry really isn't particularly large or rich (particularly in this economy), desktop music software is a long-term & risky investment with too low a ROI for shareholder support (piracy and the need for continual competitive tech updates are a killer), and all the big players have already acquired their pro sequencer technologies: Apple with Emagic, Yamaha with Steinberg, Roland with Cakewalk, Avid with Pro-Tools. Korg aren't really a portfolio acquisition company - they contract out for things like the DS10 and the Legacy collection. I guess the Akai Pro/Alesis/Numark group could be interested but they've just invested themselves in developing their DAW software for the MPC Renaissance. I'm sure Bitwig will carve out a nice self-sustaining small company niche for themselves, leeching some of the existing less loyal DAW user base and attracting lots of new users. They probably appreciate and enjoy the benefits of being a small, self-managed unit. Edit: sorry, you probably didn't want a business analysis response.
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Jan 13, 2012 12:27
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I ain't tried this but you could assign keys to trigger MIDI clips (with launch quantization disabled) that contain the CC message you want to send (grouping the clip track with any other MIDI tracks you want to be merged).
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Jan 20, 2012 13:50
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canned_fruit posted:It's actually a bit buggy though (or it's a weird design choice) and doesn't reset after you release (with a gate launch mode). If you make another control clip in your external instrument with different settings and launch it it will work but only if it recognises an envelope, otherwise there won't be any change. Ah, yeah, it kinda figures it doesn't reset. I imagine the general Ableton response would be to use Max 4 Live. I'd personally use Junxion for this but then that's 'cos I already own it for miscellaneous mapping and experimental duties. In other news, I built an entire track in Live the other night using just a single cowbell sample from my 808 as the base for all the sounds: kick, sub bass, snare, hats, whoosh, and blips. Unusually for me, I didn't use any outboard processing, controllers, or mixers, and even avoided using my favourite third party plug-ins: just what's native in Live 8. That means it's really easy to share the project with other Live users without worrying that they don't have the same setup, so if anyone wants to have a play and put their own take on such a daft concept then give me a shout and I'll send you the zipped project. Edit: Durr, here's what resulted: http://soundcloud.com/ynohtna/aleph-null-bow-cell ynohtna fucked around with this message at 22:50 on Jan 22, 2012 |
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Jan 22, 2012 22:45
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Don't forget that you can set the track delay in Ableton on your master machine to compensate for the clock signal's MIDI transmission latency through drivers and devices.
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Mar 19, 2012 03:58
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Dr Rotcod posted:Is there any way I could set up a cell in Sampler to randomly play 1 of, say, 8 different samples each time it's triggered? I haven't done this with Sampler but I have stuck a random arpeggiator (with note interval set really long so it doesn't re-trigger) in front of a Drum Rack before to achieve the same thing. Would something like that maybe work for you?
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Apr 14, 2012 08:20
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Popcorn posted:I've installed Ableton Live on my laptop so I can use it live with my band. Everything's going well except for one major problem I can't fix. I'm getting occasional bursts of deafeningly loud static. The bursts seem to arrive randomly - minutes can pass without one - and each burst lasts only a second or two. It doesn't seem to matter what's playing or how much CPU I'm using (and Ableton doesn't seem to be using too much of my CPU). I can leave Ableton looping a one-note synth tune and using almost zero CPU and the static bursts will show up every minute or two. (e: it just did it while no sound was even playing and nothing was running.) As well as the other suggestions, try having Window's Task Manager (if it's still called that) open to see if there are any CPU spikes from the OS or other processes that could be interfering. For example, I've seen wifi drivers/hardware that intermittently do intensive scans which clobber audio processes.
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Jun 7, 2012 20:23
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well why not posted:a dude in a reddit comment page said he wants to recreate RAZOR, FM8 & MASSIVE in MAX4LIVE. What level of crazy-hard would that be? A ridiculous conceit. At best expect to see an unusable, buggy, poor sounding cut down pile of nonsense that'll explode your CPU. Even working full time, by the time this project reaches public beta Ableton, M4L, Razor etc will be superceded by newer, cooler stuff. Not that folks shouldn't attempt difficult projects, but such a far-reaching goal only indicates how clueless this person is regarding the effort and pain involved to code pro-level music tech. There's a good reason why the market is flooded with a million distortion VSTs all using the same MusicDSP.org algorithms but no FS1R clones. (NB: M4L is necessarily built upon a block-processing model that fakes or denies a lot of the necessary per-sample modulation required to make the inherent sound of Razor, FM8 & Massive happen. It's an ice-skating uphill struggle right from the start.)
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Jun 26, 2012 17:02
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Controlling the balance with Velocity devices on each of the left and right hand tracks is how I do this kind of thing. And because I'm in the mood for procrastination this morning, here's an example configuration.  You probably don't need the note length, pitch, chord & arpeggiator devices on your source tracks. I do 'cos that's just how I roll, baby.  The Piano track is just a MIDI track containing your VST. I tend to put yet another Velocity device before it just to provide another level of dynamics sculpting (via the drive, comp and out hi/low parameters) or fake human feel (gotta love adding some degree of random velocity to notes). Edit: Here's the project file if anyone's bored. Shouldn't require anything beyond require basic Ableton Live 8: http://cdn.lowbroweye.com/misc/Aleph%20Null%20-%20Krafty%20Werker.als ynohtna fucked around with this message at 10:37 on Jun 27, 2012 |
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Jun 27, 2012 10:34
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I could easily be wrong, but when I was last Thus my intended usage pattern with it would/will be to step it by sending MIDI notes, with the first in a sequence having sufficient velocity to reset it to the first stage. This means that shuffle, syncopation and other interesting sequence modulations can occur by easily re-arranging the MIDI triggers inside Live. If you're truly stuck then just contact AS directly: Tom Carpenter's a swell guy and really helpful.
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Jul 18, 2012 17:30
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FLX posted:I've got a question concerning MIDI data. I have a MIDI keyboard that also has assignable knobs and I use this to control an external synth through Ableton (Keyboard -> MIDI Input, MIDI Output -> Synth). Is there a way to record the notes and velocity I play on the keyboard into Ableton, but not the knob and pitch/mod wheel movement? This is the sort of situation where I'd use Junxion or Bomes MIDI Translator to separate the knob messages onto another channel/device before it reaches Live. Could that work for you? I suppose Max 4 Live may be able to do it but I haven't got that myself.
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Aug 10, 2012 10:13
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Popcorn posted:Another discovery: if I record the device as I'm playing it, it records midi notes, but almost none of the notes produce any sound when I get midi instruments to read them. It's sending the strikes as instantaneous events. I.E. the note off is sent immediately after the note on. Also, the velocity seems quite low (should be able to re-configure it's velocity curve instead of breaking your wrist hitting it harder). I'd put Live's Note Length and Velocity MIDI effects in front of the instrument you're triggering.
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Sep 30, 2012 17:34
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Yup. Only a few, expensive, types of electronic pads track the entire duration of a pad strike, sending continuous pressure aftertouch so brushed drums can be emulated. Normally, the target instrument is a sampler set to play in one-shot mode (in Live's Simpler, put release to max), or using an Attack/(Hold)/Release envelope with the hold/release stage duration modulated by the strike velocity so harder hits ring out for longer. Anyway, glad to hear you've got it working. Enjoy!
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Sep 30, 2012 19:02
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Popcorn posted:I understand that hitting the pad would only create a single-hit, very short length. The bit I don't understand is why if I open a synth VST and set the release to maximum, hitting the drum still doesn't make any sound. Surely setting the release to maxmum and the attack to zero would still create audible long notes, even with split-second note lengths? Yeah, I'd expect the note to sound with those settings too. The sustain level is set to 100%, right?
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Sep 30, 2012 19:35
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I've personally still not found anything better/faster/easier than Recycle for loop chopping.
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Aug 1, 2013 09:56
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Radiapathy posted:One nice thing about Ultimate Mixer that I HOPE Ableton includes with this update is the ability to see all plugins/devices loaded on all channels at a glance. I think there's a hack to make Live's Session View do the same thing, but I hope they'll make it an official option for the UI (or that they at least don't remove or break the hack). Hopefully Bitwig will release another video. 
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Sep 9, 2013 18:30
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ejstheman posted:Does/can Reaktor use scripts/modules of some sort? I was kind of bummed to find out that Max was visual-only. I much prefer typing my programs, personally. Late as poo poo on this (living life on a long tape loop) but as much as I like using ChucK for precise sound design experimentation and prototyping, I've recently adopted Usine Hollyhock for bespoke controller remapping. The free version has sufficient functionality to not block most needs, it can run in a MIDI-only mode, and makes creating custom visual interfaces very easy (which is great for focusing on just the important stuff during live performance). As well as the graphical patching mode, Usine supports scripting via a variant of Pascal which really eases implementing non-trivial stateful logic if your head naturally approaches such problems from a programmer's point of view. Its a long way from being a perfect tool, but its certainly worth a few days experimentation to see if it fits your needs. I use it as a graphical live performance front-end to Numerology, with custom scripts to demultiplex CC messages to various destinations (including converting a single message into multiple outputs for use as crossfaders, temporal & value quantisation, value takeover), to convert notes into CCs (Numerology prefers its controls to be mapped to CCs), etc etc.
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Nov 26, 2013 11:31
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It may be helpful to post a clip of how close you've got so far and a description of your recreation process. Dark techno reverbed kicks are fundamentally very simple: kick & reverb (small room, high diffusion, mostly early reflections, touch of pre-delay, highs EQed out) with some further compression & EQ & saturation added to taste. Of course, like most things made out of simple ingredients (omelettes, martinis, raw techno), the artistry comes from fine tuning each element's balance and learning how to quickly find the sweet spots where everything interacts just right. This is where the choice of tools can become important as something like Valhalla Vintage Verb exposes just enough controls to ease dialling in a good sound without getting lost in a more complicated tool (e.g. 2C Audio's Aether). A quick 2 minute knock-up using Vintage Verb: http://tindeck.com/listen/jilt (It's not identical to the Shed example - 'cos I always prefer deeper, dustier sounds  - but reducing the early reflection diffusion and raising the low pass EQ cutoff on the verb increases it's metallic nature to get closer.)Edit: And if you have the hardware, then the non-linear algorithm in most of Alesis's 90s reverb boxes is perfect for getting this sound. ynohtna fucked around with this message at 09:44 on Dec 16, 2013 |
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Dec 16, 2013 09:40
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Wasn't there a Max/MSP save/recall device developed for Richie Hawtin to address this issue? Edit: Yerp, Kapture.
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Jan 31, 2014 13:37
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Anae posted:If I'm not mistaken though, that's just for recalling all-encompassing states of the entire project, rather than simply locking in parameters on a per-clip basis. Wouldn't have thought that would be too hard to code, either? Especially with Live 9's clip envelopes. Aye, one would think so!  Hopefully someone else has a better idea how to solve this. I'm no longer too knowledgable on Live as I've given it up in favour of Numerology (which effortlessly supports capturing stack/channel state) and other, more bizarre, sequencing solutions.
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Jan 31, 2014 15:22
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ZeldaLeft posted:I've been building risers using operator/analog/massive run through an FX chain of delays, filters, etc. I've noticed that the recipe to building tension is sound source + delay + pitch bend, etc. is there a way I can capture live audio (like from vocals or someone playing a guitar or keyboard), loop it, and then apply my FX chain to it and create a buildup on the fly? Have you checked out Live's built-in Looper device? It's perfect for your stated requirements (possibly in conjunction with triggering a dummy clip to automate a pitch rise).
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Feb 11, 2014 19:18
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The Glue was (and is) a normal VST from before Ableton licensed the code from Cytomic: http://cytomic.com/glue And as renderful says, Live let's you "output" audio tracks to any exposed input of a plugin. Here's how a separate track can be set up in the IO options to send to a compressor's secondary stereo input (channels 3/4). 
ynohtna fucked around with this message at 13:49 on Apr 12, 2014 |
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Apr 12, 2014 13:40
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MrTheDevious posted:Edit - setting Release only to 1ms fixed it, no idea why Tom's defaults to that and mine defaults to 60s. You can set your customised Simpler settings as the defaults for when new samples are dropped onto Drum Racks. Here's one explanation on how to do that, although the process can vary according to the version of Live you have, its configuration, etc: https://www.youtube.com/watch?v=NvS1Yhj_bhg
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May 13, 2014 08:03
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Run Sooperlooper standalone (http://essej.net/sooperlooper/) with its "output MIDI clock" setting enabled. Pipe Sooperlooper's audio into a channel in Live, and also have Live sync to Sooperlooper's MIDI output. Record your initial loop in Sooperlooper, then continue in the now-synced Live.
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Sep 3, 2015 20:10
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Have you tried enabling the "Loop" toggle (to the right of the Fade knob)?
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Jun 11, 2016 20:20
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It's been ages since I've opened Live so I may be off by a mile, but isn't this controlled by changing the channel's input monitoring from "auto" to "in"? e: it'll also need to be armed for recording, I think.
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Jan 28, 2017 14:01
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