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.
Since its release, Robert Henke's Monolake Granulator has been one of the most popular instruments for Live. Working with granular sythesis, the Monolake Granulator creates a constant stream of short crossfading samples from a source sound.
Part of a new set of Creative Tools in Live 9 Suite, the MonoSequencer is a versatile Max for Live device for sequencing notes and expressions. In a new two-part tutorial, Max creators Cycling '74 demonstrate some of the features of Mono Sequencer.
After finding an antique toy harmonium at a flea market, Melbourne-based Winterpark got to work creating a custom Instrument rack for Live 9 that incorporates Live's effects, plus the LFO and Device Randomizer tools that are new in Live 9 Suite.