I finally got around to gathering and posting photos from my trip to Seattle. There are videos popping on YouTube of my performance as well. I also wanted to give a shout out Lunchbox Audio who were kind enough to loan me a Theremin for the show!!! Definitely checkout their store and web site.
I debuted my new 2013 rig and show based on interactive Resolume visuals with live camera input at this event so it was great to see these videos from others on YouTube.
Here is a video of my song "Dormant" which will be on my upcoming album. This video was shot by Matrixsynth who has been kind enough to do multiple posts on my work. It’s played mostly on Maschine (which replaced Launchpad in my 2013 rig) and on keys (Remote SL 25 MKII). Only the drums are sequenced. Everything else is performed live.
Here is video for my song "Stealth" from my album REBOOT. This is a very cool edit from Brad Marvin. He captured the show with two cameras - one camera on me, the other on my new projected visuals which include my human-alien hybrid alter-ego projection. At the 1:10 mark, he superimposed the hybrid so it appears right next to me!!!
Synthfest Was Great and Worth Checking Out
This was my first time at this event in person and there were probably 150 people between the performance room, jam room, vendor area, and petting zoo. It was a really fun event with some very interesting artists, presenters, and manufacturers. They have a few of these a year and I recommend you checkout the event if you get the chance. Watch the http://www.mostlymodular.com/ site and their Facebook page for future events.
- we'll showcase Bazille 1.0 (to be released in June/July) - we'll showcase Satin (tape machine emulation, due in May) - we might showcase Presswerk, a massive compressor (ui pending) - we'll have a Digital oscillator module for Diva - we'll have a new "Uhbie" filter module for Diva and ZebraHZ - we'll have a sequencer/arpeggiator combo for Diva (all coming in June) - we'll have Caffè corretto to pick you up And also, wish us luck for Diva's second nomination for the MIPA award. It took Zebra twice to get it, so we're in good spirits. More screenshots will be posted as they come...
I’m arriving late to the FabFilter party, but I did bring an AudioCube. It’s super easy to map AudioCubes to FabFilter plug parameters. Just hit the plus sign, add a “New MIDI Source” for each cube face you want to be a modulation source. Set the source to “Controller” and match the MIDI CC setting the face is programmed to in MIDI Bridge. Then map the controller to a destination – like Filter Freq. Image below illustrates this Timeless 2.
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.
Use “Convert Melody to New MIDI Track” to convert her Melody to MIDI. This creates a new MIDI track with an Ableton instrument.
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.
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.
Insert the Max for Live Convolution Reverb Pro on the original vocal track.
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.
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.