I'm interested in hearing how others are using their various interfaces in live performances.
I'm currently using an Evolution UC-33, DM2, and an old Casio keyboard to interface with Live and Reason.
Since there is a lot of dub influence in my production, real time effects manipulation is a must. I have the UC-33 set up as a mixing console, with the knobs above each fader assigned to one of three sends in Live.
Using DM2MIDI and MidiOx, I have my DM2 setup for effects manipulation. Each of the 16 pads controls the on/off for each effect, while the scratch rings manipulate different effect parameters. Platter 1 is routed to Send 1, Platter 2 to Send 2, and the joystick to Send 3.
The Casio is controlling Reason for sample / synth imbellishments.
Anyone else care to post their (live) Live MIDI setups?
Live MIDI interface setups
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montrealbreaks
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- Location: Montreal Canada
Re: Live MIDI interface setups
Akai MPD-16 and a Novation ReMOTE 25.ZEN2 wrote:
Anyone else care to post their (live) Live MIDI setups?
The MPD-16: Strictly for triggering drum loops in Legato mode. All 32 pads (2 banks of 16, really) are assigned to my fav breaks in one track, all in RAM mode. Slider on MPD-16 is scene selection, but that may change.
ReMOTE 25: keyboard, Mod/pitch stick are for synth control, not Live, all on channel 2. 8 sliders are volume on 8 tracks. 16 knobs are high and low EQ for each of 8 tracks. 24 buttons are as follows: 8 are 'play' clip in track, 8 are mutes, and 8 are EQ bypass (for cutting in and out EQs). XY pad on ReMOTE is for effect control on the send busses.
Foot pedal toggles the crossfader between 0 and 127. This I use for bypassing send effects.
L8er
Montrealbreaks
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montrealbreaks
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It's really simple.six_wax wrote:montreal,
how are you interacting with the Akai pads? I'm trying to get my head around how that would work, what kind of sounds you could make, etc...
cheers, s_w
Track 1 is all breakbeat loops, 1, 2 or 4 bars long. The first 32 slots in track 1 are all filled. I will use some core beats for about half, and the other half are "fills", either chopped and re-arranged in Recycle and re-exported, or 3 beat loops (or 5 beat loops) with offset start points so they're kinda wacky. I haven't gotten to automating the effects on the fills yet, but having variations where the clip envelopes are distorted, extra compressed or filtered is an option. Looking positive for me is Supatrigger and having only one fill for each core loop, but with the randomness automated.
Then, I map the first 32 play icons to the 16(x2) pads. I set them at absolute volume mode, I don't like having to hammer the pads, and I like to play the beats hard 24/7/365 (IYKWIM). So, the pads always send 127 on each CC they're assigned to.
in RAM mode and in Legato mode, the beats kick in right on time immediately, but still in sync with the "rest" of everything. Some continuous rythmic elements (like congas, rides, tambourines or sometimes even the high hats too) are on a seperate "percussion" track and I trigger those with the ReMOTE 25.
In Breakbeats as a genre, it is very common to slap the core rythm back n' forth switching up totally different samples. For an example, check out:
http://www.garageband.com/song?|pe1|S8LTM0LdsaSnZlG3ZWk
and
http://www.garageband.com/song?|pe1|S8LTM0LdsaSnZlG3Z2E
Specifically, listen to "Snydes Slyde" for the fill variations (starts after a couple of minutes) & "Dest-Torsion". They both really showcase what breaks and an MPD-16 can do. Though when those versions of those tracks were recorded, they were done in a studio setting - I recreate the cutting and pasting I did in cubase quite well (in fact better) with the MPD-16. Same sound, no diff at all. Sorry, I have no live recordings right now - too lazy to encode to mp3.
I have changed my username; Now posting as:
M. Bréqs
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montrealbreaks
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- Location: Montreal Canada
Legato mode: Say you have two loops - one bar long each. If they are set to Legato mode, they one loop starts where the other left off immediately with no delay. That is to say, if I hit the new loop on the third beat of the bar, the new loop starts at the third beat, right on time, immediately. It`s like using a crossfader to slip between two synced loops. On the other hand, if I tried that without Legato mode, I would hit the new loop on the third beat, wait until the next quantization point (for me the next bar, I ALWAYS keep one bar quantization in the global and rarely change clip quantization), then the new loop would start at the regular start point, not where the old loop left off.Anonymous wrote:montreal when you say that lagato mode and ram mode allow you to trigger the samples imediately and right on time, what are the quantize settings you use in that mode between the clips and the global quantize?
Without Legato again, let's say I set the quantize to a quarter note. I hit the new loop on the third beat, great, but rather than starting on the third beat of the new loop, it starts at the start point. I could in theory set this to the third beat, but then what if I wanted to start it on the second the next time I triggered that loop.
Imagine it this way: With Legato mode, ALL your loops run concurrently and in sync - "playing" the loop just selects it to sound, not triggers it. Of course, this isn't what is actually happening, but Live BEHAVES as if this is what's happening. Very effecient way of working, really.
L8er
Montrealbreaks