Ableton’s Link, a collaborative jamming platform that lets you sync without wires, without “masters” or “slaves”, and without a whole lot of pain, continues to grow. It’s just shown up in Native Instruments’ iMaschine, as well as Novation’s Blocs Wave. Blocs Wave is notable because it’s pretty new, but seeing Ableton Link in an NI product is itself a breakthrough. NI could have just declared this “not invented here,” but they didn’t. And now the message from users to Ableton is clear: bring this platform to the desktop, so we can use it with everything.
Master turntablist Shiftee has posted a sharp routine. It’s a clever product placement for Razer’s laptops, but – well, it’s more than that. It’s an ad for laptops in general, at a time when DJing has increasingly come to mean “showing up with a couple of USB sticks.” And it’s sort of an ad for being DJ Shiftee. So, we asked Mr. Shiftee to show us what was going on.
When Novation’s little Circuit came out, it was already an appealing, simple box for making music. You got two polysynths and a four-part drum machine built in, coupled with a step sequencer, RGB pads and encoders for control, and MIDI, all for just a hair above $300. At the same time, though, you were restricted to the built-in sounds. Today, Novation are unveiling a bunch of updates that open up the machine to more customization – to personalizing it for your own use.
If it feels at times like everything has been done in sound synthesis, every new sound uncovered, then look to physical modeling for a way forward. This collection of techniques simulates the way sound is produced by acoustic objects. Applied Acoustics Systems (AAS) of Montreal has been one of the leaders in that field – and they’ve got a new product out that might be the friendliest offering in this field yet.
You can already connect your music software to MIDI devices. But why not Internet data, video, the weather, or physical worlds of Arduino and LEGO Mindstorms, too? With a new pack released today, making connections is a matter of adding some building blocks.
Techno is a thread in Europe that can bring people together, and be a lingua franca. That phenomenon can earn detractors and champions alike; the common currency threatens to devolve into sameness. But one thing I’ve found looking beyond centers like Berlin: there’s extraordinary talent on the horizon, answering to the beacon capital techno cities. If techno is giving people musical commonality, it’s also encouraging people to push their music such that they can extend beyond a hometown or home residency.
Wish granted, hackers. The full specification for Ableton’s Push 2 hardware is now online on GitHub, after passionate Live users clamored for its release. And there’s a lot. This isn’t just a MIDI specification (though that’s there). Every minute detail of how colors appear on LEDs gets covered. (The color “white” has its own section. Yeah, like that minute.) Every animation. The pixels that show up on the display. This isn’t just a guide to how to hack Push 2 – though it’s certainly that. It’s a technical bible on how Push 2 works.
By letting you get creative with audio, Ableton’s Simpler and slicing workflows have always opened up musical possibilities, and they got a lot more powerful in Live 9.5. But it could do even more. Developer Mark Egloff has released four clever Max for Live patches that let you slice without Push, chop in new ways, and more.
Last November, I went armed with some LOM label microphones to the Netherlands to find out what sounds you could discover in a space research facility. That exploration produced a lot of sounds, and one way to play with them was to transform them into percussion. Now you can download the drum kit I made for your own use, or to create your own instruments.
Remember 1995? Computers onstage were still a comparatively risky proposition – often relegated to MIDI, more prone than today to instabilities, and absent today’s DJ and live performance apps. Monolake, which is now just Robert Henke, was both Robert Henke and Gerhard Behles. (Gerhard is now plenty busy being CEO of Ableton.) And then there was Monolake’s PX18 sequencer, a step sequencer – cum – timeline with loads of interesting tracker-style and mathematical-musical features.