Transient Machines is a new Max for Live pack from Surreal Machines (who created the Dub Machines pack previously), including two new devices designed to manage and edit dynamics in your drums, loops, or of course, in anything else you want. Add or remove attack and decay from your drum sounds or just experiment with tweaking the transients in any samples or recorded audio. The pack includes two devices.
Crack is a more straightforward transient shaper, although it still includes interesting features such as a dry/wet mix control, a limiter, and soft analog-modeled clipping.
Impact offers much deeper control, being a multi channel processor. It also includes four switchable styles of analog-modelled saturation, along with a final processing section that includes a clipper, limiter and a maximizer designed specifically to work with transient materials. This ensures that you are not only able to shape your transients exactly how you want, but you can also add some additional character to your sounds in the process.
44 presets are included in total, and both devices are fully an immediately compatible with Push.
Transient Machines costs a mere €39 and is available now from www.ableton.com
Here’s some photos from last night’s Sample, Slice & Synthesize tour stop at Red Dog Music, London. Ableton Certified Trainer and Ableton Live Expert contributor Phelan Kane gave a demo, then continued with a group workshop while Ableton’s Simon Lyon ran a group workshop in another room.
There are more dates if you missed this one – Absolute Music Bournemouth on 19th October, and West End DJ London, on 20th October.
Ableton have released Live 9.7, after a long beta period. This update is almost entirely focused on adding new features to Push 2, although changes to Simpler will be good for everybody.
This is a free update, so anybody who’s using Live 9 Intro, Standard, or Suite, should download it. I haven’t personally encountered any issues with the beta, but of course update anything at your own risk – if you’ve got a gig tonight, maybe wait until tomorrow morning 🙂
New features for Push 2 include:
A third drum layout, enabling on-the-fly selection of velocity levels, for a new take on dynamic pad programming and performance. This seems like a small thing on paper, but it sounds great.
Pads now detect whether you’re playing beats or chords and adjust their responsiveness automatically.
The display shows count-in and clip phase.
View and select MIDI and audio routings from Push. This is such a great addition for those day-to-day studio tasks.
Use Push to change the colour of clips, tracks, and scenes.
New features for Simpler:
Simpler includes updated slicing features – samples can be cut according to beat divisions, regions, transients, or manually, and all of this can be accomplished from Push 1 or Push 2.
As I said, this is a free update, so go get it. No need to beef about it being almost entirely about Push, the new Simpler features work for everybody, and are very cool – so we’ve all got something new!
Earlier today, Texas-based Symplesound (that’s sound design legend Francis Prève at the wheel, there) released the FM Collection – a set of three new Ableton Live instrument libraries, including DX, 81Z, and Operator, designed to bring you the sounds of the 80s, 90s, and 2000s!
DX library – 10 velocity multisampled instruments based on the legendary Yamaha DX7, including its definitive electric piano, bass and marimba. These sounds were used by a wide range of artists during the 80s, including Janet and Michael Jackson, A-Ha, Tears For Fears and Sting.
81Z Library – 11 multisampled instruments that helped set the tone of the 90s house and techno genres. Featuring house organ, funk clavinet, bells and plucks – as well as the bass patch popularized by both Babyface and Orbital – the 81Z instruments are well-suited to today’s deep house and techno movements.
Operator library – an entirely new approach to bringing intuitive FM synthesis tools to musicians looking to quickly create and modify their own unique sounds. Each instrument type – bass, pad, lead and pluck – features five distinct FM “models” that can be instantly customized with control over harmonic spectrum, filtering, and specialized envelope controls.
All three products feature Symplesound’s critically acclaimed approach to integrating royalty-free MIDI loops and detailed tutorials into each library, allowing artists of all genres to immediately use the libraries in their own productions with unprecedented ease-of-use.
There’s also a free loop pack which you can download to see how it goes when you use some of these classic sounds in your own productions.
With introductory pricing of $14.99 for the DX and 81Z libraries and $24.99 for the Operator library, The FM Collection can now be purchased at Symplesound.com. A bundle containing all three libraries is also available and priced at $49.99 (until November 1, 2016).
You could win one of five free codes for the AC Sabre app, read the story for full details…
In part one of this series, we had a look at a technique to play dubstep/trap/grime style bass wobbles in realtime using the AC Sabre. AC Sabre is a wireless MIDI Instrument and motion controller for the iPhone/iPod Touch. I created the Sabre because I wanted to jam on my synths like I can on my guitar – spontaneity and creativity are closely linked. Plus, I felt that we weren’t really tapping the full potentially of ours soft synths’ tweakability with just knobs and faders. The AC Sabre lets you control parameters and automations with your movements, which is very intuitive. It can turn a lifeless violin patch into an sensitive instrument or a monotonous bass synth into a roaring beast…
You could win one of five free codes for the AC Sabre app, read the story for full details…
Once upon a time, skyscrapers were made up entirely of straight edges. Now you have buildings like the Gherkin here in London that are entirely curved. An architect once told me that the single invention that precipitated this evolution wasn’t some major breakthrough in glass manufacturing or other engineering technology but the appearance of the humble Bezier Curve tool in the CAD software.
Whether this is true or urban engineering legend, the moral of the story is that the tools we use inspire our creativity. Different musical tools encourage us to delve into different musical territories. For example, you’ll play different riffs when rocking on the guitar versus say, the violin or the banjo – even if you play them all with the same proficiency.
Today Native Instruments announced Maschine Jam – an addition to their Maschine range of controllers.
Maybe we’ll talk about the Maschine software another time, but what’s interesting for us Ableton Live users straight off is the level of Live control here.
Maschine Jam features 64 backlit RGB pads, full USB power, and 8 touch strip faders – called Smart Strips, as well as a keyboard mode with an arpeggiator.
As far as Live is concerned, once you install the remote script provided by NI, you get mixer control, clip and scene launching, macros, MIDI note sequencing, and drum sequencing, in a very Push-like style.
Interestingly, the NI website discusses using Jam alongside other DAWs as well as their own Maschine software, including Live, Logic Pro, and Bitwig.
NI Maschine Jam is available to order now at £319.
Jacob Ostema reviews the desktop version of BIAS FX…
Amp simulators continue to become better and better, and may even become the standard for guitarists and bassists alike within the next few decades. Today though, are amp simulators really as good as the real thing – or is the real deal the only deal?
Today, Ableton and Max For Live have released Bengal, a new Max For Live-based, polyphonic, semi-modular FM synthesizer. Bengal features four operators, eight voices of polyphony, six FM algorithms, 20 editable sine wave harmonics (or one wavetable) per operator, six audio effects and a flexible modulation architecture centred on a graphically interactive virtual patchbay.
Here are some key points:
Although its component modules (operators, filters, etc) are all fixed, they can be patched together in any configuration you like in the giant Patch panel at the bottom.
Four identical operators generate their waveforms using a bank of 20 editable sine wave partials or a wavetable – over 40 are included, and external samples can be imported by dragging and dropping them directly into the GUI
Two multimode resonant filters – filter 1 offers a choice of five switchable types – Moog- style ladder Lowpass, regular Lowpass, Highpass, Bandpass, Notch and Comb.
Two LFOs serve as regular parameter modulators or additional FM sources, while both the six-segment Breakpoint envelope and ADSR envelope can be looped and curved.
Eight-step sequencer, outputting MIDI notes or modulation data, and featuring scale snapping, swing, and randomisation of pitch and velocity.
Six audio effects – reverb, delay, distortion, chorus, limiting and stereo widening.
Patch panel. Simply drag virtual cables from sources to targets – each connection point can accept multiple cables at once, feeding as many sources to each target as you like!
Visual Control Panel gives graphical feedback on the signal from any point within the synth, as set in the Patch panel.