Ableton Live Tutorial Search

Making of "The Prodigy - Voodoo People" in Ableton by Jim Pavloff




Making of "The Prodigy - Voodoo People" in Ableton by Jim Pavloff

How To Create Minimal Percussion with ANY Drum Loop in Ableton Live




This video covers a variety of techniques that you can use in Ableton Live with ANY drum loop sample to quickly and easily create versatile minimal percussion loops for your productions (songs). Watch along and find out the techniques used.

Rio Music Conference 2012 Workshop - Do Santos - Produção de Tech House




Neste workshop Do Santos vai mostrar diversas técnica utilizadas em suas produções de forma interativa e aberta. Ele é atualmente um dos principais produtores brasileiros deste estilo. Sua produção original Noti Verisi permanenceu no topo das mais vendidas do estilo por mais de 3 meses, chegando a ser a mais vendida durante semanas. Hoje em dia sua nova track "No Comprendo" já se encontra entre as 15 melhores do estilo no Beatport.

Ideas for Breakdowns and Build Ups (Electro House)




An unoganised and improvised tutorial covering different ways to progress breakdowns and build ups using Ableton Live.

The Ableton CookBook - Rising Synth Transition


Question: How do people in the club know when it is time for them to yell ?


Answer: Because the buildup of the track tells them to.


A buildup or a transition is an incredibly important part of a song because it telegraphs to the listener that a change is coming up: a drop or a different drum pattern or rap acapella looped to just say ?butts? (this happens a lot). One of the most popular and versatile buildups is the ?rising synth? buildup, where a synth tone glides up an octave over the course of a bar or two.


I get a lot of emails asking me where to get that ?Rising Synth VST.? Bad knews: I don?t know of such a thing. Good news: You can make one with Ableton?s simpler!


In this video, I show you how to make a rising synth starting with a single waveform.

Ableton Live Tips with Thavius Beck - Remove Stop Buttons




In our new Ableton Live video tutorial series, "Did You Know?", Ableton Certified Trainer, Dubspot Instructor, and electronic musician Thavius Beck checks out less explored and slightly hidden features in Live. In the latest installment of 'Did You Know?' Thavius offers a very useful and invaluable tip for launching clips and moving through scenes in Live. He explains how by simply removing the stop buttons inside empty clip slots, you can launch clips and jump through scenes without having to interrupt your groove. This is something that is essential and practical putting a track in the Session View without committing it to the Arrange view.

Loudon Stearns - Producing Electronic Music - Distortion



Learn more about Loudon's Composing and Producing Electronic Music course at Here.
Berkleemusic hosted an online Open House with instructor Loudon Stearns on February 23rd.
As a bass player, producer, and laptop musician, Loudon's music can be heard on numerous documentaries and short films. While continuing his studies of composition, engineering, and sound design, he is currently pursuing a degree in physics as part of ongoing search for the answer to the question of life the universe and everything.

Montando a estrutura de uma Track no Ableton Live




Tutorial sobre como montar a estrutura de uma música no Ableton Live


por: Carlinhos de Barros A.K.A. Zatro Minic

Studio Mini XL for iPad






Studio Mini XL is an 8 track recording studio for your iPad.  It is the bigger brother of Studio Mini, which is virtually the same other than being a 4 track recorder with a slightly cheaper price tag.  The XL version comes with a host of useful features like a ‘count in’ function for recording, the ability to import and export 16 bit / 44.1 kHz WAVE files, a drum loop section with 70+ drum loops spanning a wide range of musical genres,  the ability to monitor your input levels while recording, latency compensation, audio sync, iTunes file sharing, WIFI sync and more.  The app’s Notes section also allows you to input, organize, and keep track of lyric ideas, which is great when you get that sudden inspiration for an awesome idea.


StudioMini XL ♬ Recording Studio - Fantastocrats

Minimal Techno pt 2 - Space & Dimension to Drums


Dubspot Instructor Michael Hatsis shows how to add space and dimension to Minimal Techno style drums.

Topics covered include:

  • Stereo Widening techniques as well as getting more out of Live's
  • Delay devices such as the Ping Pong Delay
  • Filter Delay.

How To Use Follow Actions in Ableton Live


Ableton Live allows you to program the sequence in which audio and MIDI clips are launched with the use of follow actions creating continually evolving rhythmical patterns. In this video we visit Devotion Gallery, an Ableton Live Training Center where instructor and sonic artist Adriano Clemente presents a musical installation employing the use of follow actions triggered by a series of Novation Launchpads.


To further understand how follow actions are assigned Brian Jackson, Devotion Gallery's Director of Education and resident Ableton Live instructor explains how to set up follow actions within Ableton Live along with a few creative routing tips on how to use this feature to expand the way you produce and perform your live sets.


Devotion Gallery is located in Williamsburg, Brooyklyn housing a comprehensive arts education program where they offer numerous Ableton Live courses and workshops for users of all levels.

Free VST Effects Plugins Series - BootEQ MKII


If you were a user of the very first BootEQ equalizer VST plug-in then you know about it’s limitations in the low frequency department: LF adjustment is limited to a +/-12dB gain control plus a HP switch at 40/60Hz. This is now reworked in BootEQ mkII which offers some new and probably surprisingly versatile (but still easy to use) control over the entire lower frequency region.
The newly added LF band of the mkII is now a frequency and gain adjustable peak filter as so is the ‘MF’ band but just with different (overlapping) frequencies and some minor adjustments to the specific lower frequency band (allowing some cool tricks but more on this later on).  The frequency range is selectable in a stepless fashion from 40Hz up to 250Hz and the curve is asymetrical (regarding cut/boost behaviour) as found in some analog designs.
The mkII versions design goal was to keep the overall workflow just exactly that simple and fast while providing more flexibility and LF detail control. To contribute to this the lowcut (aka highpass) option is now included into the LF peak filter as an switchable option which allows flexible cutting between 40 and 250Hz. Using the gain control of this band (which normally just applies to a peak filter) this now controls the so called ‘pass-band’ or ‘transition’ of the lowcut filter.
This allows to obtain different charactaristics of low-cut filtering with different shapes and steepness. The leftmost gain position is the most gentle and less steep one, the rightmost gain position is the most steep and features a slight LF ‘bump’ before cutting.

BootEQ mkII - new LF controls
You may have noticed, that there is an additonal LF control knob on the right side of the plug-in as well. What is that exactly and why is that on the pre-amp side of the plug-in?
The right plate of this plug-in features the ‘pre-amp’ section and this contains some additional LF control but in a much different fashion. It basically controls the frequency range way below 200Hz but is capable of adding nice extra harmonic content in the low-mid frequency range. When boosting with the right side LF option then some additonal ‘transformer’ style harmonics are applied due to the nonlinear behaviour of the pre-amp simulation.
Those plots where made in ‘vintage’ mode and this causes some slight dip in front of the LF boost but also slightly bumps the upper lower-mid region as well. This is often perceived as  ‘fat’ sounding and is quiet different to the ‘modern’ mode which behaves variable not only but particularly in the LF range.
Setting the right LF dial to zero (or below) leads to a more compact and tight dynamic response of the transformer simulation. Yes, right, this simulation does not only covers frequency and phase response plus distortion but handles some dynamic aspects as well.
The second order harmonics added from the transformer simulation are independent from the tube style ones and are variably dialed in. They made some important part of the color and sound perception of this simulation, especially in the lower frequency region.
Given this options we have now the ability to add some LF content while cutting them at the same time – does that makes sense? Yes! Here is one example: Boosting the LF region with the pre-amp LF section achieves some extra low-mid frequency harmonics as well. Low-cutting now with the left side LF filter (which is applied in serial since the routing internally is pre-amp –> EQ) we are actually just cutting off  some LF frequencies but the added low-mid frequency harmonics (generated by the pre-amp) remains! Due to psycho-accoustics this could also improve the bass perception on systems which are not able to reproduce LF content at all.

LF + MF filters
What we have missed so far is the existence of the ‘MF’ equalizer which actually ranges from 1.5kHz down to 100Hz which  means of course that you can manipulate some LF region with this one as well. I’m not going to talk here about standard usages but will explain some way cool trick with this one in combination with the LF filter.
Assure that the LF filter is set to peak mode and set the MF to +12dB, 100Hz and the LF to -12dB. Now we are able to perform some push/pull EQ mechanics just by altering the LF frequency (the blue ‘FRQ’ knob) which results in some very musical sounding shelving filters.  This resembles some vintage EQ designs which offers frequency boost and cut options at the same time and on (nearly) the same frequency.
While dialing the blue FRQ knob between 40 and 100Hz we obtain now a filter frequency response which cuts some sub-bass but in the same time boosts some part of the LF spectrum.
If we then dial in LF frequencies above 100Hz then the curve flips around and we obtain sub-bass boosting and some dipping at little higher frequencies.
In BootEQ mkII everything can be combined of course and I especially recommend to use this in combination with the pre-amp section to achieve a very natural and musical sounding frequency shaping while adding pleasant harmonic content and gently touching the dynamics of the audio signal.

DOWNLOAD LINK:

BootEQ MKII - UPLOADED


Korg iElectribe Beat Making - Ipad/Iphone/Ipod Touch Music APP

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Korg’s ELECTRIBE·R has been coveted by dance musicians for ten years running. Today, this indispensable instrument has been reborn as a dedicated iPad app – the KORG iELECTRIBE virtual analog beatbox!

With the iELECTRIBE, sound creation is easy, fun and intuitive – just as on a vintage analog synthesizer. Simply choose a part (or sound) and touch the 16-step sequencer to quickly build a groove. This easy-to-use interface combines forces with the iPad’s 9.7” multi touch display to offer an intuitive "hardware" feel, sure to inspire and captivate the imagination of any user.

The iELECTRIBE faithfully recreates the historic ELECTRIBE·R’s entire sound engine and sequencer capabilities. In addition, it provides advanced Motion Sequencing, eight supercharged effect types, plus 64 new preset patterns that instantly allow the user to create music in a wide variety of dance and electronic music styles. Get started today!

>> Specifications
Sound Engine:
• Analog Synthesizer Modeling; PCM Samples; Virtual Valve Force Tube Modeling

>> Instrument Voices (Parts):
• 8 Total : 4 percussion synthesizer parts; 4 PCM synthesizer parts

>> Effect Section:
• Master Effect : Assignable per step/per part
• 8 Effect Types : Short Delay, BPM Sync Delay, Grain Shifter, Reverb, Chorus/Flanger, Filter, Talking Modulator, Decimator

>> Sequencer Section:
• Patterns : 64 steps maximum per part, Motion Sequencing can memorize all knob motions in a pattern
• Tempo : 20 - 300 BPM (with Tap tempo and Swing function)
• Pattern-set function (iELECTRIBE has no Song function)

>> Pattern Memory:
• 160 Total : 32 preset patterns x 2 banks; 32 basic patterns x 1 bank; 32 blank patterns x 2 banks

>> Other:
• Audio export function (Bouncing a pattern, and Real-time recording a performance: 16-bit/44.1 kHz stereo WAV format)
• Publish and share an exported audio file online with the SoundCloud audio platform*

* You will need to register for a SoundCloud account in order to publish data on SoundCloud. A variety of choices are available, ranging from a free account that allows up to two hours of data to be uploaded to a paid account that allows unlimited time. For details, refer to the SoundCloud website: http://soundcloud.com* When using SoundCloud, you must observe SoundCloud Ltd.'s terms of use, such as the prohibition on uploading songs whose copyright is the property of a third party.

iELECTRIBE is a dedicated iPad app and cannot be used with iPhone and iPod touch.

KORG iELECTRIBE - KORG INC.

Minimal Techno Tutorial Pt 1 - Space & Dimension to Drums




Dubspot Instructor, Michael Hatsis, shows how to add Space and Dimension to Minimal Techno style drums. Topics covered include using Drum Rack's Send and Return tracks, as well as Creating and using a Plate and a Room style reverb in Ableton Live.

Kick Bass and Tom sound design of Dada life - Love Vibrations




Sound design of the kick, bass and tom of the track Dada life - love vibrations. My objective was to reach something close enough in a minimum of time. I spent 2 hours on sound design but more for the video.
Listen the original track here.

Recreating Dabrye "Hyped-Up Plus Tax" Drums In Ableton Live




For more tutorials on Ableton Live visit here. Recreating a 2 bar loop using triplets for the song "Hyped-Up Plus Tax" by Dabrye in Ableton Live. Listen to the original track here.

Stephen Webber - Music Production Analysis - Composing a Song




This is some of the greatest free advice that I have ever received in terms of composing a song. Incredibly thankful for what is being offered inside this video. Its helped me understand so much more about how a song should be composed and how the structure can really affect the whole track. Its hard to find such great advice being 14 and not having any musically inclined adults around me. Appreciate it much!

Better Sound with Hi-Quality EQ8




The EQ8 has a Hi-Quality setting that is not enabled by default. We are able to find the Hi-Quality setting by right-clicking on the EQ8's title bar and selecting "Hi-Quality" from the contextual menu that appears. Once that has been done, the EQ8 will be in Hi-Quality mode, but what exactly does that mean?


This is a question that took me quite a bit of investigation to find the answer to, and one that requires more explanation than I intended for these particular videos, but this series is all about sharing esoteric knowledge (as it relates to Live of course) so that is what I will do right now.


When Hi-Quality mode is enabled on the EQ8, the audio being fed into the EQ is oversampled by a factor of 2 (meaning the sample rate of the audio is doubled. If your session's sample rate is 44.1kHz, enabling Hi-Quality will make the audio being fed into the EQ8 88.2kHz). Then the EQ changes are calculated at the doubled sample rate, and finally the audio as it leaves the EQ is undersampled by a factor of 2, or basically brought back to it's original sample rate.


Why does this happen? It all has something to do with what is referred to as the Nyquist Point. The Nyquist Point is one half of your sample rate, so if your session's sample rate is 44.1kHz, the Nyquist Point will be 22.05kHz, which is right at the upper limit of human hearing, and just beyond the furthest right edge of our EQ8's GUI. Any audio that produces a frequency higher than the Nyquist Point cannot be accurately reproduced digitally and will have aliasing or digital distortion as a result.


Because of this, the EQ8's frequency range was initially limited to 22kHz on the high end (when working on a session with a 44.1kHz sample rate). If your EQ is in normal mode (not Hi-Quality), and you create a notch on the 4th EQ point (reduce the gain all the way on the 4th point), start to increase the Frequency on that 4th point. You'll notice that as you get closer to the Nyquist Point (22kHz when working with a 44.1kHz sample rate), the curve of the EQ gets squashed so that the curve doesn't extend beyond 22kHz. Now, enable Hi-Quality mode and try the same thing. Notice how the EQ curve remains intact no matter how close you get to the Nyquist point.


So what does this mean in terms of practical application? Well, it means that you will probably only notice the effect of the Hi-Quality EQ8 if you're working on a session with a 44.1kHz sample rate, and the improvement will really only be noticeable on the higher frequency sounds effected by the Hi-Quality EQ8. As for specific instances for when you'd want to use the Hi-Quality setting and not, I think that is really for the individual to research a bit further, do a few A/B comparisons, and decide for themselves.

Sidechain Compression for Smooth DJ Transitions




Miller (Sonarpilot Audio) shows you how sidechaining, more commonly used as a production technique, can also be a great tool for adding some extra flavour to DJ transitions in Ableton Live.


Learn more about putting together Ableton Live DJ sets on this course: www.pointblankonline.net

The Fundamentals of Synthesizer Programming Pt. 3



Moog Music Inc. is proud to present Dr. Joseph Akins' five part series on the fundamentals of synthesizer programming. Dr. Akins is an associate professor at Middle Tennessee State University and strives to teach his students a complete understanding of synthesizers and computers as tools for modern music production. In this five part series Dr. Akins uses a Voyager to teach the process through which a synthesizer's sound is generated and the techniques needed to program your own sounds and sonic experiments. In part three of this five part series Dr. Akins goes over signal modifiers and filters.


The Fundamentals of Synthesizer Programming Pt. 1

The Fundamentals of Synthesizer Programming Pt. 2

The Ableton Live Ipad And Iphone Controller Used By Professionals - Griid Pro






GRIID FEATURES

  • 11 x 11 clip grid in landscape; 8 x 16 in portrait on iPad.
  • 6 x 6 clip grid in landscape; 4 x 8 in portrait on iPhone and iPod Touch.
  • Fluid clip and scene launching and stopping.
  • Full clip information: name, colour, playing status, loop/one-shot position.
  • Track names, scene names and scene colours.
  • Smooth inertia scrolling.
  • Whole Live set Overview mode. Move anywhere with a tap.
  • Tap track header to show playing clip.
  • Group track support.
  • Clip grid independently zoomable in track and scene dimensions.
  • Large font mode.
  • Enable/disable scene launching.
  • Dedicated safe space for scrolling in the scene area.
  • BPM scene names highlighting.
Using specialised designed graphical object objects and touch gestures, Griid is carefully designed with the performance experience in mind. Finely tuned for rapid navigation, you can enjoy the freedom of playing Ableton Live sets of any size with ease. Griid features explicit visual feedback meaning that you have all the information you need, quite literally at your fingertips!

Now independently zoomable in both track and scene dimensions!

Clip Grid
A clean layout without clutter: everything's where you need it to be. Experience the lowest latency touchscreen clip launcher. Gestures for scrolling and zooming are handled in their own areas. The instant you touch a clip means one thing and one thing only: launch.

Overview
Overview is one of Griid's truly unique features. Simply press View, conveniently located in the lower-right corner, to generate a bird's eye view of your whole Live set, large or small. With each clip reduced to a tiny rectangle, you can touch anywhere in the Overview to jump immediately to that part. Griid is the only controller that makes clips at different ends of your Live set next-door neighbours!



Griid Pro - Liine

Sidechain AutofilterTechnique



Heres a neat techique heard in many current Electro/House/Tech/Minimal like Deadmau5 and other current dance music productions, known as 'Sidechaining' or 'Sidechain Compression' this great effect achievesa huge pumping sound fit for the clubs! In this tutorial we will show you how to advance the effect using the Autofilter in Ableton, which gives you more control over the fequency on the sound and has a completely new and inspiring sound - awesome!
Stay Creative.

Sampling Techniques 2



Sampling Techniques 2! Yet again going threw and recreating a beat I already made to kind of show you ways you can go about chopping up samples in Ableton Live.

Glitchy & Gated vocal Effect to Produce Minimal and Tech House




Learn to produce Minimal and Tech House styles using Ableton Live. Here expert producer Danny Lewis demonstrates how to achieve a glitchy, gated vocal effect.

Sampling Techniques 1




This is a quick little look at Ableton Live and a way you can use it to sample. Basically just recreating a song I've already made to show you how easy it is to sample something and use it in your beat making.

Deep House Arpeggiated Chord Pattern Generator in Ableton Live




In this video tutorial Ski Oakenfull (Primaudial Records) shows you how to create another great Ableton Live rack. Here's what he had to say about it.


"Taking inspiration from Deep House don and Freerange Records label boss Jimpster, I wanted to have a go at recreating a musical pattern I heard recently on one of his tracks. 


I loved the way the rhythm of the pattern lay on the off beat, so I set about trying to figure a way to achieve this in Ableton."


the Rack can be downloaded here:
http://www.skioakenfull.com/


and the delay calculator he uses is here:
http://www.thewhippinpost.co.uk/


Watch more free Ableton Live tutorials on our sample course page: 
http://www.pointblankonline.net/


James Zabiela - What's In Your DJ Bag?



Find out what James Zabiela keeps in his DJ bag. Here's a hint: everything. 


For more awesome digital DJ tips, articles and videos, visit djtechtools.com

Mixing Techniques - Gates




Gates can be a very helpful effect, from removing spill or noise from a recording, to adding more punch to drums, or adding a more rhythmic feel to a melody line, they are very versatile. Unfortunately they can also be a little confusing, so in this tutorial we show you a few different techniques to help you out. 

Mixing Techniques - Reverb




Reverb typically sits in two categories within audio productions, and either tends to be done well, or it tends to sound like someone has just thrown a reverb on a sound and selected a preset. To help you get it to sound as if it has been well done we provide you with a few handy hints and tips to help your reverbs sound better than ever!

Mixing Techniques - Compressors




In this tutorial we take a look compressors, some simple tips for using them and a couple of different techniques to help you get the sound you are looking for.

Introduction to Mixing - PREVIEW




A preview of the Introduction to Mixing tutorial, now available from Ben Rosser's Conservatorium of Audio. This tutorial looks at many different tips and techniques that will allow you to develop your mixing and engineering skills:



  • Learning to understand an engineers main tools, and the easiest ways to get used to using them.
  • How to break the mixing process up into stages to help make the overall process easier.
  • Learning to get different sounds working together in a mix without clashing, and learning how to prioritise your sounds to better balance the mix.
  • How to use different effects to control different elements of sounds, whether a sound needsto be wider, or have smoother dynamics, plus many other issues.
  • Learning to place different sounds within the virtual "stage" of your mix, from back to front, left to right, and top to bottom.
  • We also cover mixing of both electronic and acoustic material for a good bit of variety of both tone and technique.

Saucillator - Music Synthesizer for Android




Inspired by the iKaossilator (by Korg), the Saucillator is an attempt at transforming mobile devices into a digital synthesizer. It uses the touchscreen to manipulate two oscillators and an LFO. It's an instrument... on a phone.


A small variety of timbres are currently available: Sine, Square, Saw, and "Singing Saw". In addition, there are a few effects / parameters that the user can control: delay, note lag, scale, etc. There is also a built-in looper and recorder. Recorded files are saved as wavve files to the SD card.

iKaossilator for iPhone and iPad



KORG iKaossilator - KORG INC.We’ve seen a number of DJs make substantial use of the Kaossilator in a DJ set, including the impressive James Zabiela . Korg today announced the release of their iOS version of the device – check out the video after the jump. 



KORG iKaossilator - KORG INC.In addition to having the expected feature set of the Kaossilator, the app boasts a wireless syncing technology  (WiST – Wireless Start-Sync Technology) that synchronizes the application with other WiST-enabled apps. We think it looks like a pretty fun app that could be well incorporated into a DJ workflow – they’re launching the product on Apple’s App Store today for $19.99. Imagine this combined with iMaschine?




Post From: http://www.djtechtools.com

Equalization, Compression & Reverb




Some basics on EQ, Compression & Reverb.

The Super Knob Made By Kill Paris





Follow this tutorial from Ableton Certified Trainer Kill Paris and learn how to build The Super Knob - a monster Effect 
Rack controlled by one Macro knob.

Noise.io - The 1st iPhone Synthesizer



The first full-featured sound synthesizer for the iPhone and iPod Touch.

One of the most anticipated handheld music applications, Noise.io is Pro capable of creating all kinds of melodic sequences, basses, leads, keys, bells, percussive sounds and sound effects.

Noise.io™ Pro Synth - Amidio Inc.Create 303-alike acid basslines or any other melodies using the buit-in sequencer. Control the sound by fingersliding, multitouch or accelerometer. Tap BPM and jam live in sync with the rhythm. Join the established community of Noise.io addicts from all over the world at noise.io and share the presets on-line.

Noise.io™ Pro Synth - Amidio Inc.9 factory preset banks are included: Azure Leads, Warping Basslines, Infinite Keys, Distant Bells, Touch the Bass, Strange Places, Klang Percussive, FX Pack 1, totalling in 81 presets.

Noise.io is a must-have for any musician, DJ, synth enthusiast or anyone just interested in music. Noise.io was designed by an experienced electronic musician and is suitable even for novices in synth programming. Creating own sounds is a breeze thanks to the ESFM technology and highly intuitive user interface.

Noise.io features 3 generators, 2 filters, 3 LFO, 3 sequencers, 6 effects, unlimited presets, extensive user support and much more.







Mastering your music - Plugin Chain Showcase




Showing an effective chain of the best plugins to master your tracks, to make them loud and sounding convincing. Plus some tips and tricks.

Remix Techniques - Lining Up Your Acappellas



Get the acappellas, line them all up. AND MAKE THEM HOT TRACKS. talking about acappalles and how to use them for remixing. If you have any questions please send them my way. 

Songineer · Instant Composer in a few Minutes




Make music in seconds!
Songineer – Instant Composer brings on the latest trend in mobile music creation – short, inspiring music pieces that can be created literally in seconds and shared with your friends right away. Whenever you’re a travelling musician or just looking forward to throw in some cool melodies, you’ll love the error-forgiving simplicity and user-friendly beauty of Songineer.



Optimized for instant action
There is simply nothing between you and the countless billions of awesome melodies, laid out on five pre-defined layers: beat, bass, keys, lead and atmo. Four 32-step patterns can hold a massive amount of thrilling polyphonic motives and cutting solos, enriched with on-board send FX: Tape Delay and Grand Stereo Reverb. The simple, thumb-oriented structure of the interface is the icing on the cake for anyone willing to make music without any tedious hassle.


Say goodbye to wrong notes!
Songineer is a unique scale-based sequencer, bundled with 30 original scales, which make the search for that perfect note combination a complete breeze. The innovative DNA Keyboard leaves no chance for any bad-sounding notes, and in connection with the big piano roll-style sequencer window it provides excellent quantized loop-recording and editing possibilities. Since the scales can be changed on the fly and the sequencer data is independend from the scales, the workflow process is highly addictive and gives fantastic results.




The Fundamentals of Synthesizer Programming Pt. 2



Moog Music Inc. is proud to present Dr. Joseph Akins' five part series on the fundamentals of synthesizer programming. Dr. Akins is an associate professor at Middle Tennessee State University and strives to teach his students a complete understanding of synthesizers and computers as tools for modern music production. In this five part series Dr. Akins uses a Voyager to teach the process through which a synthesizer's sound is generated and the techniques needed to program your own sounds and sonic experiments. In part two of this five part series Dr. Akins goes over operation of a synthesizer's two main sound sources the oscillators and the noise generator.

Criando Arranjo Básico de track e criação de template no Ableton Live




Aprenda como criar o arranjo básico de uma track de (house, techno, etc) e a como criar um template no Ableton Live!

ORPHION - iOS / iPad Music Production App



Orphion – Expressive and Virtuosic Playing


Monolake / Ableton co-founder Robert Henke and Bastus Trump have created a musical instrument with a unique sound that sits between string instruments and percussion. Everyone can play expressive, wonderful sounds and easy or virtuosic melodies on it just by moving fingers on virtual pads.
Bastus tells Create Digital Music: “Orphion’s interface was developed especially for a touch screen and allows very expressive — and also virtuosic — playing. You can choose between different layouts of tonally-tuned pads, which sound differently depending on the finger position when played, and can be modulated by further movements. The sound and the means of interaction is a mixture of string and percussion instruments and reaches from soft to plucked to a hard slap. The concept of the Orphion results from my master thesis at UdK Berlin supervised by Robert Henke (aka Monolake). The topic was to develop an interface for multi-touch screens that allows a maximum of expression.”

The Fundamentals of Synthesizer Programming Pt. 1



Moog Music Inc. is proud to present Dr. Joseph Akins' five part series on the fundamentals of synthesizer programming. Dr. Akins is an associate professor at Middle Tennessee State University and strives to teach his students a complete understanding of synthesizers and computers as tools for modern music production. In this five part series Dr. Akins uses a Voyager to teach the process through which a synthesizer's sound is generated and the techniques needed to program your own sounds and sonic experiments. In part one of this five part series Dr. Akins gives a brief history of synthesizers, goes over basic synthesizer theory, and overviews basic signal flow.

Bass Line Creation with Auto Pan



The Auto Pan device included with Ableton is a very simple device but can be applied in various ways to achieve initially unexpected results.

The Auto Pan is used initially to demonstrate ways to add stereo width and movement to a synth part . The same technique can also be employed when working with pad sounds.

The second demonstration involves creating a rack containing several Auto Pan's acting as tremelos in order to pump a sine wave and create a rhythmic, pulsating bass line. The sound is then pushed through the dynamic tube device to add harmonics to the loudest parts of the signal.

Making a DJ EQ & FX Rack




This tutorial is on making a custom DJ EQ & FX Rack in Ableton.

Requires Ableton Live 8 Suite:

The Tutorial Covers:

  • Importing Audio Files
  • Keyboard Short Cuts
  • FX Racks
  • Beat Repeat
  • Auto Filter
  • EQ 3
  • Utility
  • Flanger
  • Map Mode
  • Macro Mapping
  • Fade to Grey
  • Chaining

Source Files:

Download the Preset Here:

Use your iPhone or iPod to Control Ableton Live with TOUCHOSC - MAC USERS


Use your iPhone or iPod with Ableton Live

This tutorial explains how to control a MIDI enabled software like Ableton Live from your iPhone.

Live configuration
First, launch OSCulator and Live.
Download Here:
Mac OS X 10.4 Tiger
Mac OS X 10.5 to 10.7

In Live, open the Preferences, go to “MIDI Sync” tab and enable the Track and Remote columns for “OSCulator Out” and “OSCulator In” interfaces. This will enable us to record events and send control events to OSCulator as well.


TouchOSC configuration
Now, launch TouchOSC on your iPhone. Please make sure you have latest version installed.

  • Click on the button under “Network” and choose the option corresponding to OSCulator (see picture above). TouchOSC will automatically fill the fields required for the network communications.
  • In the “Port (incoming)” field, enter 9000. This can be actually any port number you wish. 9000 is cool.
  • From there your settings page should look like this (your “Host” field can be different, due to network configuration differences).

  • Select a layout, we will use “Beatmachine”.
  • Click on the “Done” button and leave TouchOSC running.


OSCulator Automatic Configuration

From there, we can either load a template or configure OSCulator manually. If you prefer to “plug and play” with MIDI, just use the template corresponding to the layou you chose (Beatmachine in our case). It is located in the Sample Patches folder of the OSCulator folder you installed on your computer.

Once you’ve loaded a template file, click on the Parameters button on the toolbar and go to the OSC Hosts tab. Set the “Default Host” to the one corresponding to your iPhone (it should read ‘TouchOSC’ in the name).

You can also learn how to make such a template by reading what’s following.


OSCulator Manual Configuration



We will configure the yellow slider so it can control the volume of the first track in Live:

  • Touch the yellow slider to send an initial event.
  • The event “/1/fader” should appear in the main window of OSCulator.
  • In OSCulator, select “MIDI CC” as Event Type, and “0″ as Value (well, the first value in the list).
Now, let’s tell Live we want to use this MIDI control change to control the volume fader of the first track. This procedure also works for any button or control in Live.

  • Return to Live, and click on the MIDI button, located upper right. Live turns to MIDI Learn mode.
  • Click on the volume fader of the first track. The track should now look like this:

  • In TouchOSC, touch the yellow slider again. This will forward the event to Live, which will learn that we want to use the MIDI control change 0 to control the volume fader. A “1/0″ label is now displayed next to the volume fader, like this:


  • Leave MIDI learn mode by click on the MIDI button upper right.
  • You’re done!
If you click the volume fader in Live, you will notice OSCulator will automatically detect a MIDI message and will convert it to an OSC message that it sends to TouchOSC running on your iPhone.

That means that TouchOSC and Live are synchronized both ways.

Original Post From : OSCULATOR

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This layout and more available exclusively from
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