Modulate This! - Electronic & Experimental Music Tech, Technique, & People

Ableton Live 9.0.4 Now Available

Registered users visit https://www.ableton.com/en/account/ for free update.

9.0.4 Release Notes

Bugfixes:

• 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.

Bugfixes:

• 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
 www.MarkMosherMusic.com <-- Support my art and research through album buys and donations

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 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:

• More articles on Live 9
• More articles on Max for Live

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

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 - www.MarkMosherMusic.com

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.

Jeremy Ellis on Ableton Push at NAMM 2013

Just found this video of Jeremy Ellis on Ableton Push at NAMM 2013. Watching Jeremy discover how to play notes on Push gives you a great sense of the isomorphic modes and expressiveness of Push.

FYI – I’m installing the betas for Live 9 and Max for Live :^)

Mark Mosher
www.MarkMosherMusic.com

Ableton Live Workshop in San Francisco on Saturday Nov 17th 2012

This is a heads up for readers in the San Francisco area. Timo Preece and Liam Shy, are conducting an Ableton Live Workshop on Saturday, November 17th from NOON – 3PM at the Supperclub on 657 Harrision Street. You can purchase tickets here.

»SONGWRITING WORKFLOW TECHNIQUES«
 
Using the new Live 9 and its expanded features, Ableton Certified Trainer, Timo Preece will divulge tips, tricks and workflow techniques that can drastically improve the quality and efficiency of your production and songwriting process.  From designing original sounds to mixing down, he will shed light on many key elements to getting the most out of this popular multifaceted digital audio workstation.

 

»LIVE PERFORMANCE AND DJ’ING«
 
Liam Shy will present an inside look at one of his personal performance sessions utilizing the Akai APC 40.  Get a behind the scenes tour into the world where DJ’ing, Remixing and Live Performance collide!

 

 

Links

Tickets / Main Site: http://www.brownpapertickets.com/event/288596
Landing Page: http://www.gravityterminal.com/ableton
Facebook Event Page: https://www.facebook.com/events/483761738322131/

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SYNTHESIST MARK MOSHER, Boulder, CO 
Artist Web Site: www.MarkMosherMusic.com
Show your Support with an Album buy: http://markmosher.bandcamp.com/
Synth Geek Blog: www.ModulateThis.com
Local Meetup: http://www.meetup.com/The-Boulder-Synthesizer-Meetup/

NO GHOSTS. JUST FEAR. - 5 Original Dark Ambient Synthetic Soundscapes

New Dark Ambient Album

I’m happy to announce the release of my new album No Ghosts. Just Fear. It’s an EP with five original horror soundscapes. The album is only available as an album download from Bandcamp.com as they supports the high-resolution formats required for proper listening :^)

Here is a link http://markmosher.bandcamp.com/album/no-ghosts-just-fear

Go for the High-Rez Download :^)
The dark ambient sounds and music within these arrangements was created and performed on various virtual instruments (see notes below). In some cases original audio recordings were used as sources then re-shaped with granular synthesis to turn these recordings into playable expressive instruments with huge sonic range and motion.

The album was mastered by the wonderful Gannon Kashiwa who is the Director of Digital Media at the Denver Museum of Nature and Science  - so you'll hear the incredible sonic range and detail of these pieces if you go for the downloads. The streaming versions just don’t do the tracks justice.

With this in mind I’m making the entire album (14 minutes of horror in 5 soundscapes) available for only $3. I hope this is a no brainer price that makes you want to go for the lossless CD Quality FLAC or at least MP3 320 (click here if you have questions about format). A lot of work went into the sonic detail so it’s worth it to take the time to listen on good system with a sub – or with great headphones. No earbuds please – lol.

Liner Notes +

The Liner notes pasted in below with the addition of “Synths Used” for you Modulate This! readers. Note tracks 2-4 each use a single synth and single deep performance preset programmed from INIT.

I hope hearing these tracks inspires you to dig deeper into programming from INIT with a smaller number of synths in your rig. Going deep allows you to create expressive patches and presets with performance in mind and transcend these synths making them true instruments.

I’ll also add that the entire album was produced and mixed with Ableton Live. Gannon Mastered in Pro Tools.

Thanks for your support and If you enjoy the album please pass it on. Happy Halloween!

Mark Mosher
Synthesist & Composer, Boulder, CO
http://www.MarkMosherMusic.com

------------------------------

ABOUT THE ALBUM
This album contains five original instrumental horror soundscapes by Boulder-based synthesist and composer Mark Mosher. Listen in the dark on a great sound system with a sub-woofer or with good headphones (not ear buds) and let your imagination run wild! Then remember, it’s all in your head :^) 

 

 

CREDITS
© 2011-2012 (CC-BY-NC) Mark J. Mosher www.MarkMosherMusic.com
Composed, Arranged, Programmed, Performed, and Produced by Mark Mosher
Mastered by Gannon Kashiwa
Cover Design by Dave Weed
Cover Photo by Mark Mosher

TRACK NOTES

1 Primeval
Amygdala kicks in as you enter the fear zone. Remember, it's all in your head!

I use hand crafted synthetic sounds (subtractive and additive synthesis) to create strange tones, textures. and rhythms to build tension. Fast note-runs, and radical tempo changes will creep you out. This piece was performed using Percussa AudioCubes. Note I released this as a single in 2011. Even if you've heard it before I recommend you buy the album to get this new high-resolution remix. For this remix I reprogrammed some of the effects, remixed the track a bit, and then re-rendered with highest quality synth settings. Plus this track and all others were mastered by Gannon Kashiwa and it sounds simply incredible!

Synths Used: Waldorf Largo, 4 Instances of Image-Line Harmless. I also used Percussa Improvisor with original sequences controlled from AudioCubes which got fed into Live to drive the virtual synths. Further editing and production was done in Live.

2 Alone in the Dark
When you are alone in the dark your mind will play tricks.

Over the last year I've been spending time listening to the tone. harmonics, overtones, and distortion created by expressive electric guitar greats like David Gilmour. "Alone in the Dark" is my exploration of expressive manipulation of harmonics and distortion with a single synthesizer patch custom programmed. As a result you'll hear me go beyond the sonic range of guitars into the sub-harmonic realm.

Synths Used: Waldorf Largo

3 Fight or Flight
Your brain is on overload as you run for your life through a dark building searching for the exit.

I broke a long complex original audio recording into small chunks called "grains" with a custom patch in a virtual instrument called Absynth. My patch allows me to traverse, manipulate and perform with this massive sample as if it's an expressive instrument with a very unique harmonic palette.

4 Under the Spider’s Web
There is a dim golden light ahead in the dark. Between you and the light, there is a spider and of course a large web blocking your path. Was that something crawling down the back of your neck?

Like the last track, this is custom granular synth performance.

Synths Used: Native Instruments Absynth 5, Rob Papen Predator FX

5 Orbiting Miranda
Inspired by the film Serenity.

I used a variety of custom programmed virtual synths and effects to create this lush but dark ambient piece. Note I released this as a single in 2011. Even if you've heard it before I recommend you buy the album to get this new high-resolution remix re-mastered by Gannon Kashiwa.

Synths Used: Native Instruments Absynth 5, 3 Instances of Tone2 Saurus, Rob Pappen Predator FX & RP-Verb.

Ableton Live 9 and Push (Velocity and Pressure Sensitive Controller) Announced

Live 9 has been announced along with a brand new controller called Push. I’m going to include a few videos below then send you over to Create Digital Music where Peter Kirn who has fantastic hands-on experience and coverage with the betas. Oh, and you should check out the re-launch of Ableton's web site.

What’s New in Live 9

Watch embedded video | See Create Digital Music’s Coverage

Push

Watch embedded video | See Create Digital Music Coverage

I’m personally very excited about this controller and can’t wait to try one.

Mark Mosher
Electronic Music Artist, Boulder, CO
Official Web Site: www.MarkMosherMusic.com
Listen/Download Albums: www.MarkMosherMusic.com/music.html
www.ModulateThis.com