Maurizio Giri's Max for Live effects both rely on granular synthesis to produce results ranging from subtle to overwhelming. The latest, Grain Reverser, reverses audio input and applies granular effects like transposition and duration variation, in addition to filtering.
As co-founder and CEO of Ableton, Gerhard Behles played a significant role in the conceptualization and development of Ableton Live 9 and Push. Recently, Gerhard spoke to digital audio news site/forum KVR Audio, to discuss his background as a musician, the evolution Ableton over more than a decade, and the approach to creating a new instrument in Push.
Part two of our roundup of community-created Push videos focuses on the melodic and harmonic potential of our new hardware instrument. Because Push ‘folds’ a whole keyboard into its grid of 64 pads, the layout of notes is different from a regular piano keyboard. What’s more, Push allows for many...
Point Blank instructor Ski Oakenfull has a well-earned reputation for his deconstructions of tracks in Live. For his latest project, Ski looks at Major Lazer's "Get Free", and demonstrates how to play the track's chords in Live.
With so many new features in Live 9, you might be looking for a demonstration of how everything works together. With his video, "Live 9 in 9 Minutes", Ableton Certified Trainer Tom Cosm looks to "cover everything [in Live 9] in the shortest amount of time possible."
Hi-hat sounds in classic analog drum machines often come from white noise shaped with envelopes and filters. Follow a new tutorial from Future Music magazine, and you'll learn how to make a variety of noise-based hi-hats using Ableton Live's Analog synthesizer and Saturator effect.
Max for Live brings the world of Max into Live - including Jitter, the Max environment for visual processing and synthesis. You don't have to be an experienced VJ or coder to be wowed by Ganz Graf, a new Max for Live device for making reactive visuals.
As a solo artist and as part of The Glitch Mob, edIT has made a name for himself as a master of live beats and glitchy textures. In a new video series, edIT's sharing his tips for music-making and live performance - starting with this video, on quantized drumming with Clips.
Audio to MIDI is one of the coolest new features in Live 9, allowing you to transform monophonic melodies, polyphonic harmonies, and drum beats, into MIDI clips. In this new tutorial video, we've provided some tips on how to get a more efficient workflow - with more accurate results - out of this powerful new feature.
Love it or hate it, it's hard to escape Baauer's viral "Harlem Shake". In a new tutorial, MacProVideo's Gary Hiebner looks at how to produce a "Harlem Shake"-style track in Ableton Live, using the 808 drums included in Drum Machines, in addition to Live's effects.
Synnack is the artistic moniker of Clint Michael Sand, experimental electronic artist and creator and host of the user community for Max for Live on www.maxforlive.com. Starting in 2007, Sand teamed up with Jennifer McClain aka 0xf8 to create live visuals for Synnack performances, in which custom footage is remixed and manipulated in real time. We recently spoke to Clint and Jennifer about their unique, reactive audio-visual performance setup.
With the first batch of Push units soon to arrive, we’d like to share some videos that illustrate a few of the possibilities with Ableton’s new instrument. We sent some Push units to Ableton Certified Trainers around the world - now we’d like to introduce a new regular series, Push on Film, where we’ll showcase some of our favorite videos of Push.
Paul Maurer loves percussion, and goes to great lengths to design just the right sounds. Whether it's an acoustic sample, signal processing in Max, or a toy being struck against a desk, Paul has made a name for himself and his company, Uppercussion, as a purveyor of first-class drum sounds.