Posts categorized "Max for Live" Feed

Max 7 Sneak Preview: Episode 2 "Cat Rave"

Here is a fun teaser video of Max 7. You can now incorporate Max for Live devices in Max. This video also shows off some new video attributes.

Max 7 Sneak Preview: Episode 2 "Cat Rave”.


Anyone who buys Max 6 now -- a new copy or an upgrade -- gets the Max 7 upgrade at no extra cost.
Get details: http://cycling74.com/products/


Dub Machines M4L Tape and Analog Delays & Art + Music + Technology Podcast Interview with Developers

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Surreal Machines (http://www.surrealmachines.com/) has released a new set of Max for Live devices for Ableton Live called Dub Machines. For $39 you get 2 devices, 95 presets, and 2 live sets.

Dub Machines is a pair of expertly designed Max for Live devices that reproduce, and expand on the sound of classic tape and analog delays. With vintage character, extensive control and deep sound-shaping capabilities, Dub Machines is ready to take any sound into space.

The Pack is available here  https://www.ableton.com/en/packs/dub-machines/.

Making of Dub Machines

If you are interested in the behind-the-scenes creation of this device check out Darwin Grosse’s latest podcast where he interviews the developers http://artmusictech.libsyn.com/podcast-030-pete-dowling-and-matt-jackson.

In my first two-person podcast, I meet with Pete Dowling and Matt Jackson of Surreal Machines http://www.surrealmachines.com). Pete and Matt have just released a new MFL-based Live pack, and I hit them up for an explanation of the concept, a discussion about what it is like to collaborate on this kind of project, and how one might ever be satisfied with ones work. This is a revealing interview that provides insight on code-based collaborations.

If you haven't gotten a chance to test drive the Dubmachines Live pack, you should give it a try. The two devices are cool to work with, and have a very unique sound (and vibe) to them.

More On Magnetic and Diffuse

https://www.youtube.com/watch?v=9nEJPueE1LA

 

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Magnetic

Magnetic is based on one of the most beloved tape delays of the 1970s. To capture all the nuances of the original, Surreal Machines started by measuring the distortion, frequency response, errors and mechanical noise of an actual hardware unit. As a result, Magnetic is a delay that oozes with nonlinearities and, true to the original, includes multiple gain stages, tape hysteresis, capstan wobble – not even the dry signal comes out the way it went in.

Magnetic comes with a high-quality internal convolution reverb with samples of classic spring and plate reverbs, early digital halls, plus several more radically character-altering spaces. And, in addition to the parallel system that original hardware units had, Magnetic’s reverb can be switched pre or post echo.

Two different reverse options for classic tape or stompbox behaviors are included. Several other tape delays from the period were examined and carefully crafted into new breeds of four different machine styles – all with a control to tone back or exaggerate character.

 

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Diffuse

Is it delay? Is it reverb? It’s Diffuse, and most importantly, it’s lush and full of character. With a sophisticated feedback network under the hood, Diffuse can produce short virtual spaces, otherworldly atmospheric swells, and everything in between.

Diffuse gives you complete control over smearing, echoes and dampening and features plenty of the nonlinearities and smooth tape style delay changes of hardware. As with Magnetic, all relevant parameters can be tweaked directly in the device interface.

Some of the more advanced features include a digital rectifier to add some top end and sizzle and "Pump" – a specially designed dynamics tool to duck the delay out of the way of the dry signal and pull it back up again for long sustained trails.


mark-mosher-fear-cannot-save-us-cover-final (550x550)Mark Mosher
Electronic Musician Boulder, CO
www.ModulateThis.com
www.MarkMosherMusic.com
www.FearCannotSaveUs <<< New album


Robert Henke LFO 2.0 Max for Live Device for Ableton Live 9.x

LFO 2.0 is the result of trying to build the best general purpose swiss knife LFO for myself. It needs Ableton Live 9.x with Max4Live installed.

It offers three basic ways of modulating a target: Directly via Live's engine, (Engine) which disables manual control of the target parameter and is perfect for fast modulations. Or via a method similar to manually turning a knob on the user interface (GUI), which can create automation data when recording.

And, as a third mode it can put out the modulation as audio signal (Audio) which is useful for creating control voltages for analog synthesizers.

More info and download link here - http://www.roberthenke.com/technology/lfo.html.

 


How to use Max for Live LFO MIDI Device to Add Drift to Ableton Analog

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I’m starting a new category called M4L Essentials where I can offer ideas on how to use the devices included with Live 9 Studio to turn Live itself into more of a modular synth. These M4L devices can help you overcome the lack of built-in mod matrixes in many of the Live instruments. This will also help you get more mileage out  of the instruments you’ve already invested in with Live Studio.

Adding “Drift” to Ableton Analog

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To illustrate this idea, lets look at an example on how to add a slight pitch “drift” to Ableton Analog to make it sound – well a little more like a cranky analog synth.While Ableton Analog has an LFO you can use for pitch, it's not as sophisticated as the M4L LFO. So here we go.

  1. Drop LFO MIDI and Analog into a MIDI track
  2. Click “MAP” button  in LFO MIDI then click “Detune” in Analog.
  3. In LFO MIDI Take rate to a low setting as we want drift not vibrato here
  4. Add some depth
  5. Turn up “Jitter” to add some variability so the pitch drift is more organic
  6. Turn up “Smooth” a bit to smooth out the jitter

Experiment with depth settings to suite your project.

Links:

Mark Mosher
Electronic Musician | Composer | Sound Designer | Performer
Boulder, CO
www.ModulateThis.com
www.MarkMosherMusic.com


Ableton Announces Four New Premium Max for Live Devices Including Video FX

New premium Max for Live devices

Ableton just announced new premium Max for Live devices. Note, I think this is the first time Ableton has released “premium” devices and prices range between $24 and $39.

The embedded video below offers an overview.

 

Here is a description of the effects from the Ableton site.

Spectrum Effects by Amazing Noises
Spectrum Effects includes two radical spectral (Grip, Spectrum Runner) processing devices capable of a range of effects. Warp and mangle your audio into mayhem, or add subtle harmonic touches - you decide which. In the studio and at the gig, Spectrum Effects adds an instant dynamic catalyst to your Live set.
Learn more about Spectrum Effects – $39

RokVid by Adam Rokhsar
RokVid is a powerful video solution for live music performers. Designed with simplicity in mind, RokVid makes easy work of generating captivating video that dynamically reacts to your sound.
Learn more about RokVid – $24

AutoBeat by K-Devices
Set the rules in AutoBeat and discover endless rhythmic rearrangement possibilities. AutoBeat integrates seamlessly with Drum Racks, and can also function as a flexible phrase creator for melodic instruments.
Learn more about AutoBeat – $39

Links


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

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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 faccmixter.org/files/snowflake/37827). 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.

Links:

Mark Mosher
Synthesist, Composer, Performer
Boulder, CO
Artist Site & Album Downloads: www.markmoshermusic.com


Watch Max For Live Mono Sequencer Primer Videos

Via http://cycling74.com/.

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