There’s plenty of rightful skepticism about the use of mainstream displays for multitouch in general purpose computing. And why not? As a full-time replacement for other input, multitouch probably doesn’t make sense. But for music, the equation is changing. Multitouch capabilities are showing up on commodity-priced PC computers like the multi-touch enabled HP laptop models – the tx2z seen here starts, incredibly, at US$850. And because computer musicians are looking for more control, having a touch-enabled display (even single-touch) just makes sense.

The screen for a laptop musician is a huge piece of real estate. Finally, instead of sitting dumbly in front of you glowing, it can become an X/Y controller or give you shortcuts for controls or provide additional parameters. Yes, using a touchscreen exclusively can result in the dreaded “gorilla arm.” The ergonomics of using a vertically-oriented screen are extremely poor – if you use it exclusively for an extended period of time. But if you look at the way people are using these touchscreens, for incidental control in combination with other things – and the ability of convertible laptops to transform into a horizontal orientation – I think this is no longer the deal killer it once was.

At top, an HP laptop ($850) plus the free version of Sensomusic’s Usine is all you need to create a multitouch interface for Ableton Live. Correction: right now this is limited to single touch only, but multitouch is supported in the hardware, in drivers, soon in Windows 7, and support is promised for a future version of Usine. The point still stands — as does the ability to optimize controls for your fingers. Being able to use more than one at once will, of course, be that much better.

Fractal (see Myspace) uses the combination to play Ableton Live with some simple controls. If you get hooked on Usine, you can get the full “Pro” version for EUR70 with additional patches and objects.

The one major remaining obstacle to multitouch, at least, is cost. If you don’t especially fancy buying a new HP laptop, add-on kits still run in the range of US$800-900 (meaning, ironically, you might as well just buy the HP instead). Laptop vendors are still slow to adopt the technology, though that could change when Windows 7 ships later this year. (On the other hand, tablet PCs, even when they were shipping in relative quantity, often were constrained in available configurations and either skimped on specs or demanded a significant premium.)

But let’s not complain too much. The simple reality is you can add an HP laptop now to a live rig as a performance instrument for under a grand.

We talk about tools a lot, but it’s really learning how to make tools expressive in your productions and performances that matters. DubSpot, the music tech production and DJ educational center here in New York, brings its multi-city Ableton Live Sessions tour to its hometown for several days of parties and workshops. If you’re in NYC and on a budget, we have a discount on the paid events and also some free events you can check out. If you’re not in NYC, we’re working on bringing free video coverage to the global CDM community shortly after the event.

This really isn’t a pitch for Live, either – part of why I’m excited to be able to hang out for the weekend is that I expect to learn quite a lot from some of the world’s most skilled Live users and producers.

Headlining the event is none other than global techno star Richie Hawtin – the Minus impresario some of our readers love to love and others love to hate. I hope we get to hear more about his unique Plastikman live rig – see the controller at top, with more details from our friends at visualist corps Derivative, whose TouchDesigner live visual tool powers 3D imagery in those sets. Hawtin will join in a conversation with Ambivalent about what the Minus musical process is about. Hawtin and friends will also play a real gem of New York’s club scene, Love on MacDougal Street – it’s a fantastic space that lives up to its name.

On the dub side, Scientist aka Overton Brown, one of the world’s real stars of dub, a King Tubby protégé out of Jamaica, will return us to the roots of electronic dance music and show off his own take on the use of this technology. Scientist and Dub is a Weapon play Le Poisson Rouge and Scientist will close out the Live Sessions with a dub battle versus Badawi.

KJ Sawka – Hell, Yes, Chops

Before we get into the lineup, here’s just an example of how cool the faculty of this event is – KJ Sawka. Sawka is, of course, what we dream of in live laptop music. His musicianship is fantastic unplugged (see a rooftop set video, apparently sponsored by PBR), so the laptop becomes simply an extension of that.

KJ Sawka will have a full Drums workshop on Saturday as part of the paid program. If you’re new to Live, though, he’s doing a free intro on Thursday evening.

Here’s what to see and how to get the exclusive CDM discount.

By the way, if you’re in Los Angeles, that’s the next stop on this tour; stay tuned for details.

Mixed Up – Beat Blender and Mixmaster 1200 from Matti Niinimäki on Vimeo.

Ableton Live enthusiasts, you take very seriously what gear you plug into your laptop sets. We’ve seen painstakingly-created DIY controllers like the arcade button hardware below, and bizarre oddities like calculators and arcade cabinets and blenders and Osterizers (above). So, in celebration of New York installment of the Dubspot Ableton Live 8 Tour, Saturday, June 27, we’re going to get together in a fantastic space and have a little Live party. And we want to see what controllers you’ve made.

If you’re coming to town for the Live Tour or are in the New York area, we’d love for you to show some of your creations. Built or customized your own controller? Got your Wii remotes and webcams running your Live set? Built your own special Reaktor / Pd / Max / Python creation to customize your Live performance? Invented some hardware that works with Live? We’d love to see it. It’s a week that includes some of the most skilled Live minds in the planet presenting, plus celebrity appearances by the likes of Richie Hawtin, Scientist, and others. So we expect that even though this is last-minute, this could be a fun chance to get together.

If you’re interested, just sign up below or head directly to the Google Docs form. This is an informal, relaxed venue with drinks and finger foods. (Check out the recent New York Magazine write-up.) The idea is to bring along some headphones or small speakers and show things off in the catacomb-like former stables (and former sex club) nooks of this fantastic bar, meet up, relax, and get to know each other. We’ll also feature a live performance or two; if interested, let us know what your stuff sounds like.

The event will be open to the public; stay tuned for more details on this and the event itself.

And if you want to learn how to use controllers intelligently with Ableton Live – from the cheap and accessible to the weird – I’ll be teaching a workshop at Dubspot on Sunday 6/28.

Sign up, creative folks:

If you’re using Ableton Live 8, you’ve hopefully already discovered the joys of Track Groups. Track grouping is a welcome feature in any DAW, but in Live, the mixer-centric Session View can easily get unruly with endless columns of vertical tracks.

I wanted to share some discoveries about Track Groups, including what I thought was a big realization about how they worked with clips that turned out not to be as exciting as I thought.

To group tracks, select multiple tracks first (click one, then shift-click the last one), right-click (ctrl-click on Mac), and choose Group Tracks. The result – what’s basically a submix:

• You can save space by collapsing tracks in your view, clicking the triangle at the top of the Group
• You can add insert effects to the whole Group, and signal will be routed through that entire chain (making them like a quick send)
• You can control the whole “submix” Group at once using the Group’s mixer parameters

No surprise there. Here’s the surprise.

Working with sound is, for many of us, the experience that attracted us to working with computers. Field recordings can be the best way to get close to sound – you’re attached to sounds you’ve found in the real world, you’ve experienced and collected, even if you transform them into something very different in production.

Nick Maxwell of the excellent Nick’s Tutorials Ableton Live production site shares some free explorations with us, complete with downloads you can reverse-engineer the instruments and play with the topics the video cover. You can also use these in your own work, royalty-free.

I really like some of the work here, from a kitchen knife to a found sound bass. Here’s Nick:

“Icy Shimmer” Effect

In this video, I use a few field recordings of a kitchen knife being unsheathed as well as a door closing as the layers for the eventual sound effect.  Basic things like reversing the waveforms, filtering , panning, and retuning are employed.  I also go beyond that into some more interesting stuff like using a grain delay, simple delay, and an autofilter to create a little effects section to further realize the sound.

Download