If you thought Gustavo’s tutorial on unlinked envelopes in Ableton Live was faster before, watch in 60 seconds! (It’s a teaser video, but maybe if you don’t blink and watch it a few times, you’ll learn subliminally.)

If you or anyone you know speaks Spanish as a native language and you’d prefer not to have to translate, there’s also a Spanish-language version:

http://sturly.com/bravetti4

Una muestra corta puede “estirarse” en variaciones en un bloque de tiempo mayor – una muestra de 1/16 de duración por ejemplo puede ser llevada a un compás o dos. Suma la posibilidad de utilizar esta envolvente para modular un efecto, y ya puedes comenzar a pensar en extremas rarezas sónicas. Y aunque en esta ocasión se encuentran al servicio de la “paleta” de sonidos de Gustavo, esta técnica puede encajar en diversos fines musicales.

Puedes ir también en sentido contrario: Tomar una muestra larga y modularla con una envolvente corta. Por ejemplo, puedes tomar una textura oscilante de una duración de 30-segundos, y aplicar una envolvente realmente corta, como un único pico de 1/16 para crear un platillo (hi hat) que evoluciona en el tiempo.

Puedes pensar en las envolventes desconectadas como una fuente de modulación aplicable a varios estilos o fines musicales. Puede ser una muestra corta, una cadena de efectos, o un sintetizador. Aquí Gustavo se limita a los efectos incluidos en Ableton Live, pero tu puedes elegir tus efectos favoritos especialmente ahora que Live te permite seleccionar fácilmente cuales parámetros quieres controlar cuando utilizas efectos de terceros (VST, etc.).

That was actually my writing; thanks, Gustavo!

iproducer #4 – Unlink and Conquer + Bonus from Gustavo Bravetti on Vimeo.

Exclusive to CDM (and Vimeo), Live guru Gustavo Bravetti offers a deep tutorial in sound creation in Ableton using “unlinked envelopes.” He assembles quasi-modular routings of effects into one another to create some unusual sounds. I think there are some inspiring techniques here, even beyond Ableton Live – I’d watch it even if I weren’t a Live user.

Gustavo writes:

“This workshop demo video is about using Live’s unique clip unlinked envelopes and Ableton’s effects to easily create elaborated sequenced sounds as well as a “how to” create a bass, a tuned bass drum, a clap and hi hats.”

So, what’s the beauty of the “unlinked envelope”? By separating the envelope length from the length of a sample, you can take a sample of one length and modulate it in time independently with an envelope of a different length. A short sample can warp in a longer block of time for more variety – a 1/16th note sample, for instance, transformed over a bar or two. Add the ability to route the envelope into effect modulation, and you can start to think extreme sonic freakiness. Here, that serves Gustavo’s own electronic palette, but it could suit a variety of musical aims.

You’ve seen the splashy “sound just like –” headlines in various music magazines. But imitation is, after all, an essential form of musical development. Something magical happens as you try to imitate something – you begin to hear it differently. Sometimes you wind up nailing something exactly, and in the process discover how you might make your own, unique sounds. And sometimes, the process of translation falls apart, and instead of an imitation you go somewhere else altogether. But I do think you learn something by imitating, however successful you may be. You also often gain new appreciation for the track.

By popular demand, our friend and Live performance guru Gustavo Bravetti has unveiled the secrets behind a sound in his own performances, reminiscent of a tune that’s well-loved in certain circles:

How to program a “M.A.N.D.Y vs Booka Shade – Body Language” like sound, on Ableton Live’s Operator.

Note that I’m using Live8’s Operator. Fortunately all used parameters are backward compatible, so you can perform it on Live7’s Operator, and it will sound the same.

As Gustavo points out in comments, this is all about using a simple example as a window into learning Operator. And just as you might learn to solo on the piano from listening to Horace Silver over and over again, this can be a great way to sharpen your ear and learn more about synthesis.

I really happen to love the sounds from these artists and the Gustavian twist in this variation. I’m also struck, as I was when it came out, by the extent to which Ableton’s Operator is economical in its layout and synth parameters. I have other go-to soft synths, but I think Operator is remarkably fast to program – a testament to Robert Henke and the early Operator prototypes in Max/MSP.

Hope this is useful to your synth programming. Gustavo, keep them coming.

Gustavo Bravetti Blog [in Spanish]

Gustavo Bravetti – Alternative Controllers @ Tribaltech 2009 (SC edition) from Gustavo Bravetti on Vimeo.

Friend of the Site Gustavo Bravetti is back, getting the young Brazilian boys and girls on their feet with his virtual reality glove and Wiimotes and gesturally-controlled electronica. Gustavo sends us this video from the 2009 Tribaltech SC Edition in Campinas. Having seen a lot of DJs take the easy way out at festivals in front of throngs of people, it’s great to see someone really play his laptop – and while some of us, ahem, look goofy waving Wiimotes around, Gustavo makes it look good.

Gustavo also gives us the scoop on a new track release, orange. It’s inspired by … wait, Henry Purcell? (Indeed; see also: Wendy Carlos.)

I did produce this track specially for the Tribaltech 2009 SC edition, it was inspired on the classic piece by the baroque composer Henry Purcell (century XVIII), “The Funeral Of Queen Mary”. As usual all synthesizers and fx was made using only Ableton stuff, this time Operator, Analog, and Tension was used to create all synths and effects.

Gustavo also gets a rather eloquent review by our friend David Cross.

The incredibly simple melody of the short ‘Bocuma’ becomes a lump-in-the-throat meditation on man’s place in the universe through subtle pitch shifts and just the right mist of reverb. The slow fade-in on ‘An Eagle in Your Mind’ is the lonesome sound of a gentle wind brushing the surface of Mars moments after the last rocket back to Earth has lifted off.” Why not listen to, Only the Proletariat Floss’s by Screaming at the Mirror. With a truncated syncopation and approach that rivals only Tosh Guarrez pre “FartFlap”, “S.A.T.M” has taken steps to dismantle what was previously only dared mantled by the great Gilda Thrush when she fronted “Cycle Clause”. It’s as if Genghis Kahn got together for breakfast with Oliver Wendell Holmes and Virginia Wolfe and ordered just a bowl of homemade granola and then skipped out on the check. RATING: 11.-111 -David Cross

Previous Gustavo action on CDM:
Live + FM8 = Drum Kit Love: Free FM8 Drum Kit Download
Weekend Inspiration: Ableton Live Follow Actions, Dummy Clips, Making Snares
Gustavo Bravetti Show Us How To Glitch out Ableton Live
Interview: Gustavo Bravetti, Playing Music with Light and Interactive Gloves

When we last joined our friend Gustavo Bravetti, Uruguay’s Ableton maestro, he was showing us how to glitch out with Live. Now he’s on Hong Kong-based DJ site djvox with a comprehensive set of Live tutorials. These are not necessarily the usual “how to use Live” fare. Instead, they focus on musical techniques, with Live as the tool — a means to an end, and a way to approach Live as an instrument, rather than a duplicate manual.

First up — one of my favorite tricks, which is building bass drum sounds in Operator. Not everyone loves Operator, but this is exactly why I like it for certain tasks: it’s a no-nonsense, quick way of building synths that drops nicely into a Drum Rack for quick DIY drum machines. And that pitch envelope and all-in-one time controls are especially handy.)

And for IDM lovers, here are some clever tricks for creating rhythmic variations using envelopes and follow actions. This one is especially worth a trip through the guide, even if you have different musical results in mind, because it’s an exceptional description of how follow actions work — one that’s actually better than the manual’s.

That gives you an idea of what Gustavo is working with, but be sure to check out the full guide for more details and step-by-step instructions, friendly even to beginners.

He even gives a shout out to the open-source 3D webcam MIDI controller for Windows we looked at last year.

Looking forward to more iProducer installments, Gustavo! And readers, now you know what to do with your evening / weekend / sick day you’re about to call in. Erm, if you’re not too busy building an arcade cabinet for Live first, that is.

iProducer: A Creativity Upgrade [Ableton Live tutorial on djvox]

(By the way, for digital crate-diggers: snooping around that Hong Kong site, you can buy downloads there internationally, though they wind up being a bit steep in US dollars.)