Posts categorized "Ableton Live" Feed

Synth Performance Video: Behind-The-Scenes "Dark Signals" Soundcheck from 8/23/2013 Concert at Dairy Center for the Performing Arts


Here is a behind-the-scenes video from my August 23rd show at the Dairy Center for the Performing Arts in Boulder Colorado.

The video was shot at my sound check by fellow performer and Electric Trombone player Darren Kramer using GoPro. The audio is from GoPro camera.

At this show I’m using Abeton Live to do for live sequenced playback. For live play, For this song called “Dark Signals” (from my second album I HEAR YOUR SIGNALS)  I’m using a my Remote SL MKII  Keyboard along with Maschine (custom template in made with Control Editor) to play instruments in Live racks. As you'll see in the video I'm using pressure from the pads to modulate this synths.

Photo from Tech Rehearsal/Sound Check from Dairy Center for Performing Arts Electronic Music Concert

AudioCubes are receiving light commands via MIDI CCs from Ableton Live. I never use on-board sounds in Tenori-On and instead use it as a controller and pump MIDI into synths hosted in Ableton Live.

The visuals are based on live camera input processed in Resolume. The Resolume system receives controller and automation from the Ableton rig via MIDI. I’m using the house projector to display my visuals on a screen that’s the width the of the stage!

Photo from Tech Rehearsal/Sound Check from Dairy Center for Performing Arts Electronic Music Concert

It’s a little hard to tell from this video because audio is from GoPro, but the sound at this show was amazing thanks to Gannon Kashiwa who owns and operates GK:SOUND at the TARDIS in Denver. I’m working on a 3 camera edit from footage from the actually show performance which will have audio from the board – so stay tuned.


Mark Mosher
Electronic Musician | Composer | Sound Designer | Performer
Boulder, CO

Ableton Live 9.0.4 Now Available


Registered users visit for free update.

9.0.4 Release Notes

  • VST / AU plug-in devices could be inactive after loading a Live set containing a large number of plug-ins (regression in Live 9.0.3).
  • The "grab_control" function which allows to gain control over a control surface's button matrix via Max for Live would not work anymore (regression in Live 9.0.3).
  • Fixed a bug which could cause the File Manager window to reopen after launching Live.

9.0.3 Release Notes

Improvements and feature changes:
  • Added a new skin: "Disco".
  • Added a new option to the "Record/Warp/Launch" preferences pane: "Start Transport with Record". If activated, the transport will start immediately when clicking on the Session- or Arrangement-Record buttons. If deactivated, it prepares for recording as in Live 8, so you have to launch a clip in Session View or click the 'Play' button. You can hold down the Shift modifier key when clicking on the record buttons to invert the behavior temporarily.
  • When recording automation on top of an existing automation envelope, and quickly clicking on different positions in parameters like sliders, X/Y pads, etc., Live now records a latching automation envelope instead of jumping back to the previous value.
  • The Compressor device does not clip input signals at +20 dB anymore. 
  • Added control surface support for Novation Launchkey series.
  • Added control surface support for M-Audio Axiom Air Mini 32.
  • Added a user satisfaction survey. After several hours of usage, Live will ask you to rate the software on the next startup. You can submit a star rating or simply dismiss the survey.
  • Updated manual, lessons and translations.
  • The Trial version of Live 9.0.2 could hang on startup.
  • Live would not work as a ReWire slave on Windows.
  • The performance of the Ableton Index process has been improved, especially on OS X. 
  • The Ableton Index process would sometimes not scan all folders after adding them to the sidebar.
  • The Ableton Index process could block the GUI during saving and exporting of Live sets, presets or clips.
  • Scanning folders containing a huge amount of files could take longer than necessary.
  • The Browser would not update its content pane after a change in the file system if the selection was somewhere outside of the Browser.
  • Expanding the Audio Unit folder in the browser's "Plug-ins" label could be slow for users which have a lot of library content installed.
  • Live would not save a clip self-contained after dragging it to the Browser and confirming the name of the new clip by clicking anywhere outside of the Browser. 
  • The Session Record button would not turn off if the recording was aborted, e.g. by stopping or deleting the currently recording clip, disarming a track, etc.
  • Under certain conditions, MIDI notes would not get recorded into a clip slot after deleting a previous clip.
  • Overdubbing into MIDI clips could unnecessarily bloat the undo history file.
  • Fixed a graphical glitch which could occur in the representation of the filter curve in EQ Eight's Frequency Display.
  • Several MIDI control surfaces would not correctly shut down after quitting Live, e.g. motorfaders on the Mackie Control would not return to zero, Axiom Pro devices would not exit Hypercontrol mode, etc.
  • The "Project Mix IO" control surface would not work.
  • The channel strip buttons on the Mackie Control XT would not work.
  • Fixed a bug where the key navigation in track headers would not work properly when certain control surfaces are selected.
  • When using control surface scripts, the blue hand would sometimes not map to any device, e.g. after creating a device and then deleting it by using undo.
  • Live could sometimes crash on quit in case a faulty MIDI remote script throws an exception in the Python console.
  • Fixed a crash which could occur in Live Intro when right-clicking on a drum rack chain.
Changes for Push:
  • Using the touch strip to change banks in drum racks now requires to pick up the current value, to avoid changing banks accidentally while playing.
  • Fixed incorrect intervals in the Locrian scale.
  • The velocity curve setting would reset to the default value when opening a new Live set.
  • Changing the pad sensitivity settings could be slow if a drum rack was in focus.
  • Updating the LCD display could be slow when switching between Drum and Note mode.
  • The Push LCD could remain blank and no mode would be selected after holding the 'Browse' mode button.
  • Fixed a bug where 'Browse' mode would be exited after swapping a Max for Live instrument.
  • Tracks created by dragging an instrument would sometimes not be automatically armed if Push is connected.
  • The "Arm Exclusive" preference would not be respected when Push was connected.
  • Fixed a bug where recording wouldn't work properly if the default clip launch mode was set to 'Toggle' mode.
  • Fixed a crash which could occur when using the 'Quantize' function.
  • Fixed a crash which could occur when using Push to delete a device whilst recording automation for this device with the mouse.

Mark Mosher
Electronic Musician | Composer | Performer
Boulder, CO

View Mindmap of What's New in Ableton Live 9


Every month I host the Boulder Synthesizer Meetup which is the 2nd Tuesday of every month. This month I delivered a “What’s New in Live 9” talk along with Darwin Grosse from Cycling ‘74. To prep for the meetup, I dug through the Ableton web site and Live 9 manual and then documented the new features into a Mindmap. The map also includes a list of all the Max for Live "essentials" devices.

Having all this on one page was quite handy so I posted an interactive slideshow version for you here and also embedded the map below.

Create your own mind maps at MindMeister.

Mark Mosher
Boulder, CO <-- Support my art and research through album buys and donations

Mind Maps

Listen to "Falling" Sound Design Experiment with Live 9 + Max for Live Convolution Reverb Pro Using IR Made with Pitch-to-MIDI Absynth Patch


I was experimenting with Live 9’s new pitch-to-MIDI and Max for Live Convolution Reverb Pro a few days back and come up with this idea.



Here is the process I followed.

  1. I started with a vocal sample by the wonderful artist Snowflake (CC-BY-NC BTW I remixed one of her tracks last year – click here to give it a listen.
  2. Use “Convert Melody to New MIDI Track” to convert her Melody to MIDI. This creates a new MIDI track with an Ableton instrument.
  3. Swap the Ableton instrument on the MIDI track with Absynth 5.  You could of course stick with Ableton instruments here. I used a dissonant bell preset with major reverb decay.
  4. Create an audio clip from the Absynth patch. You could resample it or  freeze the track,  insert a new audio track and drag the frozen clip to the new audio track to create an audioclip.
  5. Insert the Max for Live Convolution Reverb Pro on the original vocal track.
  6. Apply the Absynth sample as the Impulse Response file for the Convolution Reverb by dragging the audio clip from step #4 and dropping it I on the waveform display of the Max for Live device.
  7. Play the original sample through the Convolution Reverb

What’s great about this process is since the Impulse Response was derived from pitch-to-MIDI of the original sample, the resultant reverb follows the phrasing of the original vocal track – but of course is also slewed and torqued in an organic way by using the Absynth patch with more sustain and bigger reverb and space. I also love how this creates new harmonics.

I also want to point out that while each of these discrete processes are available in separate tools already, having this all integrated in Live 9 with Max for Live makes for a rapid and creative sound design workflow. It’s taken me way longer to explain it her than id did to think this up and execute the idea (which only took about 5 minutes).

It’s also worth mentioning you don’t need to be a programmer to use Max for Live as an artist. Just drag in the devices that come with Max for Live essentials and use them like any native live device.


Mark Mosher
Synthesist, Composer, Performer
Boulder, CO
Artist Site & Album Downloads:

Watch Max For Live Mono Sequencer Primer Videos


Matthew Davidson, the developer of the new Mono Sequencer device, gives us a quickstart primer on using this creative MIDI effect. Watch for new videos over the coming weeks!

Live 9 Mono Sequencer - Episode 1

Live 9 Mono Sequencer - Episode 2

Mark Mosher
Composer, Performer Synthesist
Boulder, CO

Live 9 + M4L Tips: Modulating Buffer Shuffler 2.0 Patterns with LFO

I’ve really been enjoying the new and refreshed Max for Live devices in Live 9.  Buffer Shuffler 2.0 is really great. Here is a fun tip.

1) Create a variety of patterns

2) To cycle through the patterns, drop in the LFO M4L device. Click the map button and then click on one of the pattern numbers. Now the LFO will modulate the pattern being applied.

You can use the LFO “Offset” parameter to pick the lowest pattern that will be selected. The “Depth” parameter will determine the range allowing you to restrict the highest pattern selected. Experiment with LFO shapes and speeds.

Mark Mosher
Boulder, CO
If you want to learn how to support my art and music tech research visit -

Photos form the Ableton Live 9, Max for Live and Push Premiere Event the University of Denver

I attended the Ableton Live 9, Max for Live and Push Premiere Event the University of Denver on Wednesday February 27th.

Ableton Certified Trainer and electronic artist Orville Kline joins Darwin Grosse from Cycling 74 for a unique performance and presentation covering the new features of Ableton Live 9, the potential of Max for Live and exploring creative approaches for composition and performance using Ableton's new hardware instrument Push.

Here is a flickr set from the event.