Categories
(Modulate This) Contollerism MIDI Sound Design

CME Xkey Tip: Latching Sustain for Drones and Arps

I use my Xkey 25 Air pretty much every day in the studio. No matter what state my studio wiring is in, I can just turn this bad boy on and I’ve got velocity, pressure, mod wheel, pitch bend and octave shifts at my fingertips.

Because it’s so compact with no knobs to snap off – I also throw it in my pack for experimental ensemble sessions and performance where I don’t want to bring a lot of gear. In these situations I don’t want to have use a finger to hold the sustain button for drones and/or holding notes for synths that don’t support arp latch (U-He synths for example).

The good news is you can configure the button to toggle the sustain pedal on and off. Open the Xkey editor then:

xkey-sustain-switch

  1. Press “Read Selected from Xkey” button in the interface to load the current settings of the Xkey into the editor.
  2. Click the sustain button in the editor’s interface
  3. Change mode from “Push” to “Switch”
  4. Make sure the CC Number is set to “CC64: Hold Pedal On/Off”
  5. Press the “Save modified to Xkey” to save changes back to Xkey

That’s it! Now when you press the sustain button, it will toggle on as if you were holding the button down (or your foot on a sustain pedal). Press it again, and the sustain releases.

Drone on!

Mark Mosher
Sound Designer and Teacher of Synth Tech & Technique
http://ModulateThis.com

Categories
(Modulate This) Ableton Push Contollerism Sound Design Synth: ElectraX

How to Use ElectraX Synth with Ableton Push Pad Pressure and Use Ribbon Controller Like a Mod Wheel

push electrax

I finally got my hands on a Push. I’m going through songs in my existing live show and tweaking synths to be even more expressive with Push’s aftertouch and ribbon controller. In this post I’ll be focusing on the wonderful ElectraX synth by Tone2 Audiosoftware but the same concepts apply to any synthesizer that allows for CC mapping in their Mod Matrix – including all the other Tone2 synths.

The image below (click to enlarge) illustrates how to map Push’s pad pressure (aftertouch) and ribbon controller in the mod matrix.

image

Ribbon Controller

If you are using Ableton instruments, the ribbon controller on Push is hard wired to pitch wheel. One advantage to using third party synths is synths like ElectraX, Absynth, and others allow you to map MIDI controller information right into their mod matrix. In other words you can map the ribbon to anything you like

In ElectraX if you want to disable mod wheel so it doesn’t change pitch got to Settings and set “Pitchwheel” to off. Now go into the Mod Matrix and map Pitchwheel. In the example above, I’m using the ribbon to crossfade oscillator 1 and oscillator 2 volumes.

Pressure

To map pad pressure, which is really exposed as aftertouch, go to the Mod Matrix and map “Afterto.” to parameters. In the example above I’m using pressure to close the filter and increase filter resonance.

Keep Up with Push Posts

I’ll be doing many more posts on Push in the future so keep an eye on this category http://www.modulatethis.com/ableton-push/. You can subscribe to the RSS feed for this category here http://www.modulatethis.com/ableton-push/atom.xml. The ElextraX category is here http://www.modulatethis.com/synth-electrax/ | http://www.modulatethis.com/synth-electrax/atom.xml.

Mark Mosher
www.ModulateThis.com
www.MarkMosherMusic.com

Categories
(Mark Mosher Music News) Ableton Live Concerts Contollerism Events Maschine Novation Remote SL Tenori-On Videos

Synth Performance Video: Behind-The-Scenes “Dark Signals” Soundcheck from 8/23/2013 Concert at Dairy Center for the Performing Arts

dark-signals-soundcheck-watt2

Here is a behind-the-scenes video from my August 23rd show at the Dairy Center for the Performing Arts in Boulder Colorado.

The video was shot at my sound check by fellow performer and Electric Trombone player Darren Kramer using GoPro. The audio is from GoPro camera.

At this show I’m using Abeton Live to do for live sequenced playback. For live play, For this song called “Dark Signals” (from my second album I HEAR YOUR SIGNALS)  I’m using a my Remote SL MKII  Keyboard along with Maschine (custom template in made with Control Editor) to play instruments in Live racks. As you’ll see in the video I’m using pressure from the pads to modulate this synths.

Photo from Tech Rehearsal/Sound Check from Dairy Center for Performing Arts Electronic Music Concert

AudioCubes are receiving light commands via MIDI CCs from Ableton Live. I
never use on-board sounds in Tenori-On and instead use it as a
controller and pump MIDI into synths hosted in Ableton Live.

The visuals are based on live camera input processed in Resolume. The Resolume system receives controller and automation from the Ableton rig via MIDI. I’m using the house projector to display my visuals on a screen that’s the width the of the stage!

Photo from Tech Rehearsal/Sound Check from Dairy Center for Performing Arts Electronic Music Concert

It’s a little hard to tell from this video because audio is from GoPro, but the sound at this show was amazing thanks to Gannon Kashiwa who owns and operates GK:SOUND at the TARDIS in Denver. I’m working on a 3 camera edit from footage from the actually show performance which will have audio from the board – so stay tuned.

Enjoy,

Mark Mosher
Electronic Musician | Composer | Sound Designer | Performer
Boulder, CO

Categories
(Modulate This) Contollerism kinect Space Palette Tim Thompson

An Update on Tim Thompson’s Space Palette Kinect-Based Instrument Including Video from STEIM

image

I first met Tim Thompson last Spring when I performed in Sunnyvale. He invited me over for an An “Exclusive First Look at Tim Thompson's Kinect-Based Instrument: MultiMultiTouchTouch”. Since then we’ve kept in touch and he’s made incredible progress on this three-dimensional instrument so I thought I'd do an update post.

image

Now called Space Palette, it offers more windows of control and expressiveness and also has interactive visuals that react to gestures. Space Palette’s design makes it a fantastic casual instrument allowing for walk-up players. Tim has been spreading electronic musical joy by bringing it to events such as:

I got to play an updated version of Space Palette when Tim and I were in Atlanta in February. It’s expressive enough to scale beyond casual play and Tim has become quite a virtuoso with it as can be seen in his latest performance at STEIM in Amsterdam below.

Watch embedded video.

I encourage you to visit http://spacepalette.com and http://timthompson.com/ to follow Tim’s progress.

Mark Mosher
Electronic Music Artist, Boulder, CO
Official Web Site: www.MarkMosherMusic.com
Listen/Download Albums: www.MarkMosherMusic.com/music.html
www.ModulateThis.com

Categories
(Modulate This) Contollerism Midi/USB Keyboards & Controllers Soundplane

Madrona Labs Soundplane West Coast Demo Tour Starts Tomorrow

image

After already presenting Soundplan at Expo '74 in NY, Madrona Labs has set off on the west coast leg of their tour. I pulled this schedule from the news section of their web site.

Robotspeak, San Francisco, Saturday Nov 5, 4pm
CNMAT, U C Berkeley, Monday Nov 7, 2pm
UCSB, Media Arts and Technology Seminar, Tue Nov 8, 5:30 pm
CalArts, Thur Nov 10, 6:30pm

All of these events are free and open to the public. Come play with a Soundplane, and ask questions about anything from capacitive sensing to CNC machining to software! I look forward to meeting you.

They are posting photos on their home page and tweeting as they go. If you are not familiar with Soundplane  I’ve included a video and description below.

The Soundplane A is a computer music controller with the sensitivity and feel of an acoustic instrument. It detects a wide range of touches on its walnut playing surface, from a light tickle to a very firm press. The Soundplane A can be configured as either a 150-note keyboard with position and pressure sensing on each key, or as one continuous surface.

The playing surface is a material custom developed for us, an articulated sheet of walnut veneer bonded to a fiber backing for strength. The case is milled out of alder, a sustainably harvested Northwest hardwood. We have sourced all of the construction locally and test and assemble Soundplanes by hand here in Seattle. The entire instrument is about 28 inches wide by 8 inches deep by 1 inch thick.

Included with the Soundplane is Aalto for Soundplane, a custom, signal-driven version of our patchable software synthesizer. The Soundplane client software can send MIDI and OSC messages to control other software and hardware.

Mark Mosher
Electronic/Experimental Music Artist, Boulder, CO
Synthesist | Composer | Keyboardist | Performer

Synth Geek Blog: http://modulatethis.com/
Artist Site: www.MarkMosherMusic.com

Categories
(Modulate This) Contollerism Interviews Space Palette Theremin Tim Thompson Videos

An Exclusive First Look at Tim Thompson’s Kinect-Based Instrument: MultiMultiTouchTouch

modulatethis_tim_thompson_multimultitouchtouch_banner

Tim Thompson is a software engineer, musician, and installation artist. He was recently mentioned in Roger Linn’s post “Research Project: LinnStrument — A New Musical Instrument Concept where Roger credits Tim with writing a program that “translates the TouchCo's proprietary USB messages into TUIO messages sent over OSC.”

I met Tim at my recent concert at the Art Institute of California/Sunnyvale and he was kind enough to invite me over to see his latest development project, the MultiMultiTouchTouch. This custom solution offers players any number of arbitrarily-shaped multitouch areas with three-dimensional spatial control. Interaction with this space allows users to control and play virtual synthesizers using nothing but a Microsoft Kinect as the controller.

Ironically, the concept shown in Moog Music’s April Fools video “Introducing the Moog Polyphonic Theremin” is not only a reality, but Tim has one-upped this idea by providing polyphonic spatial control in multiple “frames”, AND more granular control than a Theremin with finger blob detection. In short MultiMultiTouchTouch is like having a polyphonic/multitimbral Theremin that can not only detect hand movements, but finger movements as well – from multiple players!!!

Luckily I brought my video camera along and recorded Tim describing and demoing the technology. I also give the MultiMultiTouchTouch a try at the end of the video. So, without further ado, I present the video “An Exclusive First Look at Tim Thompson's Kinect-Based Instrument: MultiMultiTouchTouch”

Watch embedded video in HD

An Exclusive First Look at Tim Thompson’s Kinect-Based: MultiMultiTouchTouch

Components
In summary, Tim developed with the following components:

The raw output of this controller is OSC messages formatted using the TUIO (multitouch) standard format. Parameters of the software can be controlled with JSON-formatted messages.

Events
If you're near Silicon Valley, you can play with this controller on April 10 at the Stanford DIY Musical Instrument Tailgate Party , or at the Kinect Hackathon at Hacker Dojo. Tim will also be using it in installations at Lightning In a Bottle and Burning Man this year.

Pass It On
I want to reiterate, this is real and NOT a late April Fool’s joke. Incredible work Tim! Congrats. I can’t wait to see where Tim takes this and look forward to the possibility of doing some MultiMultiTouchTouch compositions and performances myself. To help Tim promote his work share this video.

Links

 

Mark Mosher
Electronic Music Artist & Synthesist, Boulder, CO
www.markmoshermusic.com
www.modulatethis.com

Categories
Ableton Live Contollerism Effects Plugins Synth: Largo

Loving Waldorf Largo 1.5 + Picture of Waveform After Abusing the New Chorus Effect

DSCN3597

In late January I purchased Waldorf Largo and I’ve been using the hell out of it for work on my next album. It is now one of my most heavily used synths in my rig and I’ve crated a fairly large number of custom presets from INIT.

IMHO this is one of the finest virtual analog instruments on the market and the sonic capabilities are kind of mind blowing when you dig into the synth. Also, Largo is architecturally 98% the same as my Blofeld (look for a future post on how they compare) there was almost no learning curve for me.

I passed on Largo when it first released because I’m not a fan of the eLicenser technology and when I tried an earlier demo there were some oddities on Windows. The 1.5 update fixed these issues and added some great new features (see what’s new here) and once I tried this version I fell in love with the synth right away – so much so I decided to give in to the eLicenser dongle Regarding eLicenser, you don’t need a dongle if your only going to run on Largo one system, but I bit the bullet and bought the Steinberg USB Key so I could use Largo on my primary and backup systems. I also got the boxed edition so I could get the manual in paper form which ended up being a wise decision as the documentation is quite good.

One of the best new features in 1.5 is Largo’s new Chorus effect. It’s incredible how you can radically modulate it in-real-time without producing unwanted popping or stepping artifacts.This goes for almost every parameter in the synth by the way.

image

Waldorf describes the Chorus on the product page:

Largos new Chorus comes in three flavours. The one with two stages you already know from earlier versions, and now also with four and six stages to create lush pads and strings. Spread controls the behaviour of the four additional stages, when set to zero, all six stages run in sync with a fix offset creating the ensemble effect of old string machines. When set higher, the modulation is increasingly decorrelated to make the Chorus thicker and wider. But we didn't stop here. We've also added Feedback to make the Chorus effect even thicker. And together with the quite long delay time, you can now abuse the Chorus as an additional Comb filter (as if the Largo hadn't enough of them already).

I wrote a custom patch from INIT, then used Ableton Live automation clips to crank on chorus depth and speed during playback over a 2 bars.

SNAGHTML2a5a0af

Below is the resultant waveform after I resampled the output from Largo. Crazy!

markmosher_largo_waverform

I’ve written an entire song for the new album based on this waveform, variants of the waveform, plus live perofrmance playing the patch on keys while clips modulate parameters in real-time.

Sorry to be a tease – but you’ll have to wait to hear the audio till the album gets closer to release ;^)

Update: I made a t-shirt out of this waveform – you should buy it – you'd look cool in it!

Activate t-shirt2 

Mark Mosher
Electronic Music Artist, Boulder, CO
www.ModulateThis.com
www.MarkMosherMusic.com

Categories
(Modulate This) Ableton Live Contollerism

“Camgesture in Paradise” – Ableton Theremin Made by Translating Hand Gestures from Webcam

Camgesture in Paradise from Steve Freedom on Vimeo.

I found this cool video via @Psicoff on Twitter. It's a video by Steve Fredom using a web cam as a Theremin.

Ableton Theremin – experimental electronic music made by translating hand gestures tracked by Quartz Composer and webcam, into OSC then Midi and sending on to Ableton to trigger Spectrasonics Omnisphere and RMX.

I'm doing similar spatial control with AudioCubes and Theremin (pitch-to-MIDI) into Live and simply love the possibiliites of openning this up to more people via built-in web cams.

Links:

Mark Mosher
Electronic Music Artist, Boulder, CO
www.ModulateThis.com
www.MarkMosherMusic.com

Categories
Ableton Live AudioCubes Contollerism Videos

Notes and Video: Using Percussa AudioCubes in Sensor Mode to Play Melody for “Alone”

markmosher_cover_reboot_001_400I put in some extra rehearsal time this weekend in preparation for the March 17th show at the Art Institute of California/Sunnyvale . I’ll be performing songs from I HEAR YOUR SIGNALS, and some new songs which I’m considering for my next album. I’m also working on getting some songs from my previous album REBOOT to my live set and wanted to share some notes on implementing my song “Alone”.

First off, here is the album version of the track:

http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F1612110
Alone by MarkMosher

As you can hear, “Alone” is the emotional bottom of the story in REBOOT and is the only track on the album without a drum groove. This being the case I wanted to come up with some sort performance that would provide contrast to the other songs in the set. Back in September I came up with the idea of attempting to play all the lead melody and ambient noises solely from Percussa AudioCubes. I’ve decided to push-on with this idea and perform the song this way. Here are the behind-the-scenes notes and a rehearsal video.

Goal
markmosher_rehearsing_01I normally configure my AudioCubes so there is 1 “Sensor” cube for controlling effects, 2 “Receiver” cubes for sending MIDI notes to Ableton Live to trigger clips, scenes, parameter settings…, and 1 cube as a “Sender” to trigger to the Receiver cubes.

For “Alone” I wanted to use each cube face to play a different note according to a predefined user scale that matched the notes in the song. AudioCubes can detect objects in one of two ways –Wirelessly (“Sender”/”Receiver” pairs), or through infrared (cube set to Sensor mode). In sensor mode, an object’s (hand, other cube, cat…) proximity to cube face is detected with infrared. Since I want to use my hand to trigger the note Sensor mode is the way to go.

Solution: Using Sensor Mode to Play Notes
While the Sensor mode is normally used to send MIDI Continuous Controller (CC) values from 0-127 to control parameters on synths and your DAW, there are also options to send MIDI Notes based on minimum sensor thresholds.

Implementation: Configuring AudioCube Function in MIDIBridge
Modes and settings for each cube are configured in the free app Percussa MIDIBridge. Click the image below to see a large version of the screenshot which illustrates how I configured individuals notes for Cube 1. image

You can also see that even though I’ve set note triggering via the threshold, proximity to each cube face will case the LED intensity to respond according to the normal response curve and with a different color for each face. I continue this method with Cubes 2 & 3 to program the rest of the notes.

Calibration
Like a Theremin, AudioCubes running in Sensor mode need to be calibrated. It’s not because they are analog, but instead to take into account the amount of ambient and infrared signal in the “control zone”. The screen shot above also shows how you can tweak gain to adjust for room – and of course you could experiment with “Threshold” as well. The darker the room the better fro the this particular method.

Virtual Ports, Ableton Live and Novaton Launchpad
In my rig, MIDIBridge talks through virtual MIDI ports (Midi Yoke) to Ableton Live. Live is playing some minimal original background tracks from the original album offering me a frame of reference for my performance. The signals from the AudioCubes are routed to various virtual instruments such as Camel Audio Alchemy, Absynth 5, and Sonic Charge Synplant. I assigned buttons on the Novation Launchpad to select and arm tracks (sometimes multiple tracks) so I can swap instruments out from under the cubes without having to load another MIDIBridge Patch.

The End Result: “Alone” Rehearsal Video
I shot this video back in September when I first figured all this out. I’m now actively rehearsing it and hope to add it to the show soon.  The key to playing this song is to play just behind the pocket to give the notes more emotional tension. The AudioCubes are plenty sensitive enough to achieve this and the visual feedback not only helps the audience connect with the performance, but actually helps me with timing. As a musician, I really like the flow and feeling of the movement as well.

I shot this in 720p so if you have the bandwidth watch full screen at that resolution. I also captured audio right from my sound card so listen with good headphones or on a good sound system :^ ).

Watch embedded video

“Alone” by Mark Mosher Peformed on AudioCubes

Mark Mosher
Electronic Music Artist, Boulder, CO
www.ModulateThis.com
www.MarkMosherMusic.com

Categories
(Modulate This) Contollerism

Video From Microsoft Research on “Wedge Component” for Gesture Tracking + 3d Display Without Glasses + Head Tracking + 3D Viewing for Multiple People + Frame Viewing

My nephew is a huge gamer and turned me on to this video via Joystiq.  The Kinect is nothing short of amazing for gaming and I’m very intrigued that Microsoft Research is looking to take this to the next level. I see a huge potential in all this for controllerism and lots of game changers in this video for artists – both music and visual, and for the audiance. Hopefully Microsoft can productize this technology as well as they did with Kinect.

Watch embedded video

 

 

Mark Mosher
Electronic Music Artist, Boulder, CO
www.ModulateThis.com
www.MarkMosherMusic.com

Categories
(Modulate This) Contollerism Midi/USB Keyboards & Controllers

Korg microKEY Hands-On Review

I received a Korg microKEY USB powered as a gift over the holidays – woot! Here is a hands-on review.

Size
It’s bigger than I expected. Here are some shots giving you some perspective. Here it is when compared to an Akai LP2K25.

modulatethis_korg_microkey (4)

Here it is compared to my Novation Remote SL 25.

modulatethis_korg_microkey (11)

modulatethis_korg_microkey (7)

And finally, a shot of it in my laptop back pack.

So as you can see it’s not quite as backpack ready as some of the competition, but it is quite portable considering the number of keys.

 

 

 

 

 

 

 

 

 

Mini Keys
DSCN3605

It has the the same synth action 37-key velocity sensitive keyboard as the MicroKorg XL. I like the action quite a bit. Korg says “The proportions of the black keys and white "waterfall" keys have been adjusted for optimal playability, and the key touch makes it easy to play chords, glissandos, and rapid-fire phrases.” – I agree. Unlike the Akai, the white “waterfall” keys on the Korg go down to the case so they are less likely to get snagged when sliding in and out of a gig bag.

Modulation & Pitch Wheels
Besides feel, the mod and pitch wheels are the reason I wanted this controller. I love to do “couch potato” sound design and have been frustrated that all the small controllers don’t have a mod wheel. Well the microKEY addresses this nicely.

Octave Buttons
DSCN3600

You can transpose using the octave buttons. The buttons change color with each press giving you instant visual feedback on the setting.

  • Green = 1 Octave
  • Orange = 2 Octaves
  • Red = Three Octaves
  • Blinking Red = 4 Octaves

USB Hub

DSCN3604
There are two USB ports on the side allowing you to use the keyboard as a HUB. This is a pretty nice idea if you wanted to quickly hook up other nano controllers (or any USB device) without having to bring along another hub. Nice touch Korg!

Editor
As with other Korg controllers, you can use the KORG KONTROL Editor to set velocity curves and and mod wheel range.

Price
At $99, I think the microKey is a great value when you consider it's also a USB hub.

Final Thoughts
The microKey is the best feeling Mini-key keyboard I’ve played to date – much better than the button feel of the original NanoKey or the spongy action of the Akai.

The microKEY seems is a good choice for players and sound designers on the go who want a nice velocity sensitive synth feel with pitch and mod wheels but don’t necessarily need the unit to fit all the way into the pack.

The microKEY is now my controller of choice for “couch potato” sound design work with VSTs!

Link
Official Product Page – http://www.korg.com/Product.aspx?pd=579

Mark Mosher
Electronic Music Artist, Boulder, CO
www.ModulateThis.com
patchlab.modulatethis.com
www.MarkMosherMusic.com

At $99, I think the microKey is a great value when you consider it's also a USB hub.P
Categories
Ableton Live Artist News AudioCubes Contollerism

Percussa AudioCube Production and Performance Notes for “I Hear Your Signals”

<a href="http://www.markmoshermusic.com&quot; markmosher_rehearsing_01 

For my original music album “I Hear Your Signals” (download the album free) I use Percussa Audiocubes as performance controllers. In this post I’ll give you all the geeky details about how the controllers were applied in the project.

AUDIOCUBES AND MIDIBRIDGE
I used 4 AudioCubes plus Percussa’s free MIDIbridge app on Windows to configure and route AudioCube signals to Ableton Live. I use the same MIDIbridge patch for every song which allows for consistent and predictable data mapping from the cubes to Ableton Live.

In general, I play a lot of the notes on you hear on the album via keyboards, Theremin and Tenori-On live. I tend to use the cubes as controllers, for scene launching, and for real-time modulation of effects and synth parameters and only use them for triggering notes from time to time.

CUBE CONFIGURATION
The AudioCubes are configured with the in the following modes:

  • Cube 1 – Sensor (the red cube at 9:00 in the picture above): This cube sends MIDI CC information back to Live. I configure each side of  cube to give me visual feedback where each cube face is set to a different color. The closer my finger or hand is to the sensor, the brighter the light. Currently, Sensor cubes need to be wired via USB.
  • Cubes 2 & 3 Receivers (white cubes in above picture): Sends MIDI notes back to Live when a signal is received from Cube 4. image I also send RGB MIDI light sequence via MIDI clips in Ableton. The cubes then become light show elements and also offer visual feedback. These cubes are also plugged in via USB so they can receive high-speed transmissions via MIDI clips.
  • Cube 4 – Transmitter (green in the picture above): This cube is wireless. Aligning the faces of this cub with the faces on cubes 2 & 3 triggers MIDI notes back to Ableton Live.

MIDIBRIDGE AND ABLETON CONFIGURATION
I then MIDI map MIDI CC data and Note information coming from cubes via Ableton Live MIDI Map mode to various functions within live.
For cube 1, CC’s are mapped to device parameters and macros. These in-turn are often routed to parameters within VSTs. For example, a cube face might modulate delay time with Ableton’s native Ping Pong Delay FX device. Or the CC might map to filter on a VST synth. Below is a snapshot of the MIDIBridge settings for Cube 1 (click to enlarge).

markmosher_audio_cube_config_cube1

For Cubes 2 & 3, notes are triggered when the face from the transmitter Cube 4 is detected. I route notes to either MIDI tracks holding Ableton instruments or VSTs and/or racks. In some cases I route MIDI notes through a dummy track back to SugarBytes Artillery II running in a send or on the master track for effects. Since effects are triggered via notes rather than CCs with Artillery II, this method allows me to control effects as well as playing notes with signals from Transmitter cubes which only send MIDI note information. In other words, by combining native Ableton effects with Artillery II, I can use any cube in the network to trigger effects.

CUBE USAGE FOR EACH SONG

1) “Arrival”

In this song I’m using AudioCubes as lighting and feedback elements in the live show. They were not used in composition or performance of the music. MIDI clips in Live are used to sequence the lights.

Categories
Ableton Live Contollerism

Using Novation Automap for iPhone/iPod Touch to Wirelessly Send Keystrokes to Ableton Live


Novation Automap for iPhone/iPod Touch
Originally uploaded by Mark Mosher

I've been looking for a way to load sets without having to touch my computer. Sadly, you can't MIDI map file browser elements. I did find a pretty cool way to do this using Novation's Automap for iPhone and iPod Touch.

I got it configured and working on my iPhone and have been using it for a few days and it is working well for me.

In addition to the app, you need Automap Pro as it supports assigning keystrokes and multiple keystrokes to buttons. Pro also supports multiple Automap devices.

In the screen shot on the right, you can see that I assigned a key sequence to take mouse focus from a scene into the file browser to load a set. I've also mapped "n" and "enter" so I can dismiss dialogs on load. Space is mapped so I can stop live prior to the load.

Note, the on the current iPhone OS, you have to use WiFi for communications as bluetooth is not supported for apps. So, before you go to a gig, I recommend you create a secure Ad hoc network on your system then connect the iPhone to this network rather than hoping for a WiFi setup at the venue. I've got this all working on Windows 7. iPhone seemed happiest with "WEP Encryption".

I'm really liking using the iPhone as a dedicated device to send keyboard macros to live so I don't have to take my Launchpad and my Remote SL out of default modes to map these functions. Plus, the iPhone is really easy to see in the dark.

Links:

Mark Mosher
www.MarkMosherMusic.com
www.ModulateThis.com

Categories
(Mark Mosher Music News) Ableton Live AudioCubes Computers & Laptops Contollerism Launchpad Midi/USB Keyboards & Controllers Novation Remote SL Synths & Instruments (Virtual) Theremin Video Blog

Overview and Time-Lapse Video of My Ableton Live Laptop Music Rig + Controllers

2010-MarkMosher-Signals-Rig_01

Over the years I’ve played hundreds of shows as a keyboardist using my trusty Apex column with various hardware synths.  In late 2009 I had a vision to create a new Ableton Live laptop-centric rig using only virtual synths running in Live.

While I wanted to play some keys, I was really excited to add alternative visual, tangible, and spatial controllers and selected Percussa AudioCubes, Tenori-On, a Novation Launchpad. I went with my trusty Remote SL 25 for keys as it also doubles as a controller for Live. In the 11th hour I added a Moog Ehterwave Theremin which was clearly necessary to play “They Walk Among Us” live :^).

I’ve played enough shows to know that you can’t always count on basic lighting and P.A. to be adequate, so I added these elements to my requirements as well – just in case. My goal was to be able to run a room of 80 people if needed with just my rig. My other goal was 4 trips from the car load-in max with a 15 minute setup time or less.

The sketch above shows all this on paper (click the image to see a larger view). After months of slowly building up gear, the reality – sans lighting – is shown in the fun little time-laps video embedded video below.

Here is a list of what's in the rig:

  • Laptop: Windows 7 32-bit, HP DV6t-1200 Pavilion w/Core2 Duo P8700 @ 2.53 GHZ, 3G memory, 7200 RPM Drive (Update I now use an HP Envy 14 I5)
  • Soundcard: Novation NIO 2|4
  • DAW Software: Ableton Live 8 Suite
  • Primary Controllers: Novation Remote SL 25 (updated to MKII), Launchpad | Tenori-On | Percussa AudioCubes
  • Primary Virtual Synthesizers: Tone2 Gladiator 2| Native Instruments Absynth 5 | Camel Audio Alchemy | U-He Zebra 2, ACE | Ableton Sampler, Operator… | SonicCharge Synplant | Lennar Digital Sylenth1 | reFX Vanguard, Slayer2 | Image-Line Harmless, Toxic Biohazard | Cakewalk Dimension Pro | FAW Circle | DCAM: Synth Squad…
  • Hardware Synthesizers: Moog Etherwave Theremin, Waldorf Blofeld (not pictured)
  • PA: Bose L1 Compact
  • Stand: Odyssey ATT2 Table, Odyssey L2 Laptop Stand

Links to lots of the software I use here:
https://markmoshermusic.com/links.html

Mark Mosher
Electronic Musician, Boulder, CO
http://www.modulatethis.com
http://MarkMosherMusic.com

Categories
Ableton Live AudioCubes Contollerism Launchpad Synth: Absynth Synth: Gladiator Synth: u-he ACE

New Single “First Orbit” Performed Live + Percussa Audio Cube Presentation Video from Ableton Denver Meetup

On the 14th of March I gave a presentation on Percussa AudioCubes at the Ableton Denver Meetup. David Henderson was kind enough to shoot video and he even took the time to post on YouTube. Thanks David.

By the way, if you haven’t subscribed to his blog yet, you should check it out – http://www.hendersounds.com/. Lots of cool insights on Ableton Live, Monome and more.

As part of this presentation, I decided to perform a brand new single called “First Orbit” using only AudioCubes and a Launchad. The song is in the second video below and starts at the 1:20 mark.

Watch embedded video

http://www.youtube.com/v/bJXGKqf7Z2M&hl=en_US&fs=1&&hl=en</embed></object></div>";” src=”https://modulatethis.files.wordpress.com/2010/03/ed674-6a00d83451cae869e201310fada78a970c-pi.jpg&#8221; style=”BORDER-BOTTOM-STYLE: none; BORDER-RIGHT-STYLE: none; BORDER-TOP-STYLE: none; BORDER-LEFT-STYLE: none” />

In this song I’m using AudioCubes to send MIDI notes and MIDI CC data to Ableton Live 8, specifically to:

  • Change scenes
  • Trigger Artillery 2 FX with MIDI notes
  • Modulate parameters of Ableton Live FX (Redux; PingPong Delay; Arpeggiator Rate, Gate, Distance)

I misspoke in the the video on what synths I’m using in this song. I’m using Gladiator 2, Absynth 5, and U-He Ace. Two synths that are well suited for cubes that are not in this song are Alchemy and Synplant.

The launchpad is used as a visual reference for what is going on inside of Live. at 2:55 I switch to User Mode 2 on the Novation Launchad and trigger a metallic sound then change the Rate by breaking the beam between cubes. I then play notes on the launchpad which plays both Gladiator and Absynth. When I pick up the Sensor cube, I’m modulating arpeggiator Gate and Distance. Opening up the gate makes the Absynth patch much more tonal.

Marc W. from Ableton Denver just gave me additional footage from a second camera angle and I plan to post a video on my channel of just the song by combining footage from both cameras. I’ll also post this live performance of the song in audio format and will also do a studio version down the road and release that as well.

Watch embedded video.

http://www.youtube.com/v/QXavNR1u-k4&hl=en_US&fs=1&&hl=en</embed></object></div>";” src=”https://modulatethis.files.wordpress.com/2010/03/5f208-6a00d83451cae869e20120a946b0fc970b-pi.jpg&#8221; style=”BORDER-BOTTOM-STYLE: none; BORDER-RIGHT-STYLE: none; BORDER-TOP-STYLE: none; BORDER-LEFT-STYLE: none” />

Thanks for watching!

Mark Mosher
Electronic Music Artist, Composer, Sound Designer
Louisville/Denver/Boulder

http://www.modulatethis.com
http://www.markmoshermusic.com
http://www.twitter.com/markmosher

image
Download/Buy my album REBOOT on Bandcamp
Buy on iTunes

“First Orbit” Copyright 2010 Mark J. Mosher, licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License.

Categories
Ableton Live Contollerism

The Mojo: Moldover’s New Controller (Sneak Peek)

Mojo 
 (Click image to enlarge)

Controllerist Moldover has posted a sneak peek of his first commercial controller, the Mojo.

View embedded video

http://www.youtube.com/v/HlBZpaLHRws&hl=en_US&fs=1&&hl=en</embed></object></div>";” src=”https://modulatethis.files.wordpress.com/2010/01/3b110-6a00d83451cae869e2012876e09668970c-pi.jpg&#8221; style=”BORDER-BOTTOM-STYLE: none; BORDER-RIGHT-STYLE: none; BORDER-TOP-STYLE: none; BORDER-LEFT-STYLE: none” />
“After nearly a decade of study in the art of controllerism, Moldover has created his first commercially available controller. Assimilating ideas from traditional instruments, DJ hardware, and game controllers,The Mojo puts an unprecedented level of power and completely intuitive control in your hands. Combining ergonomic elegance, rapid-fire tactile responsiveness, and bullet-proof construction, The Mojo is the sexiest controller in the entire multiverse. Order your own and get more details at moldover.com."

Features (as listed on Moldover’s site):

  • Works with all MIDI compatible music software
  • lIncludes new Moldover template for Ableton Live
  • 10 ultra-responsive touch strips
  • 24 competition-grade arcade buttons
  • Rubberized knobs, rugged faders and burly toggle switches
  • Assembled in San Francisco CA by Andy from Pance Party
  • Sexy mahogany body by Livid Instruments
  • Scratch-resistant anodized aluminum faceplate
  • Environmentally sealed twist-lock USB cable included
  • USB bus powered electronics by Hale Micro
  • Class-compliant USB device (no driver to install)
  • Free copy of Moldover's self-titled album included
  • Dimensions: 11.5" x 18" x 4", 7.5lbs
  • Will totally get you laid (Yes, this is in the factory spec).

A limited edition of 20 Mojos will ship in March and will cost $1799.

Links

Mark Mosher
imageElectronic Music Artist
Louisville/Denver/Boulder

http://www.modulatethis.com
http://www.markmoshermusic.com
Download my REBOOT Album: http://www.RebootAlbum.com