The KORG nanoSERIES has a rabid following among many Ableton Live users, and with good reason. The nanoPAD and nanoKONTROL street for about US$60, provide basic knobs + faders + transport (KONTROL) and pads and X/Y control (PAD), plus a fully-featured, cross-platform editor, but still fit in a backpack. They’re small enough to use in coach on an airplane.

Having to open Live templates, however, just to get the mappings you want is a big pain. So, instead I’ve created a basic set of MIDI Remote Scripts and Kontrol Editor templates for Mac and Windows, Live 6.x and later, and wanted to share them with you.

If you’re Windows-based and a big fan of the nano, I will say that I recommend you use something else altogether – the brilliant nativeKontrol. It’s a hell of a lot more sophisticated, gives you more control, and still requires no template:
nanoLive

Of course, there are some advantages to my (otherwise inferior) humble solution. It’s free, it works on Mac, it’s completely editable, and much of the idea was to provide an easy way of learning about MIDI Remote Scripting. (Check out the tutorial below.) Now, knowing CDM readers, I imagine someone out there can improve what I’ve done, so feel free to modify it and please send us a copy of what you’ve created!

korgnano_live.zip [Cross-platform archive; will update with a fancier release later on once I've gotten some feedback]

Ableton Live MIDI Remote Scripting How To: Custom Korg nanoSERIES Control

And, of course, read all the instructions…

Want to reignite interest in DJs who actually use their hands and fingers to slice up and juggle sounds? A cavalcade of “laptopists” is the ticket. Suddenly, at least in some corners, people are again interested in turntablism. It’s nice to see how a controller can integrate digital loop and cue points with a setup that still focuses on scratching. And Stanton’s SCS.3d turns out to be scriptable in the open source DJ software Mixxx. As some live PA musicians revert to a “push play” mentality, DJs can keep it interesting.

Music-boxing in NI Kontakt from Create Digital Media on Vimeo.

You know the stereotype. “Synths” are expressive. “Samplers” are those things relegated to playing fake instruments.

But what makes synths fun to play as an instrument is the power they have over your sound, and the interactivity they provide. Peter Dines did a series for our Kore+CDM minisite at the end of last year that I think really illustrated how Native Instruments’ sampler Kontakt can be made a powerful performance tool – something that’s really fun to play. In doing so, he gets into the “s word” – scripting. When you hear “scripting,” I expect a lot of you run and hide, or wonder why the heck you’d want to write scripts when working on your music. The answer is, thanks to content that’s out there, you can make use of scripts for Kontakt without ever having to muck with code yourself. And if you do want to create your own scripts, a lot of the things you might like to do turn out to be quite simple.

What might a musical workflow look like with Kontakt? Peter answers that question with a beautiful, delicate-sounding music box patch. In this example, working directly in Kontakt allows him to start with a recorded sound and get into the manipulation phase very quickly. I know many folks use Ableton Live for the purpose, and Live is itself essentially a sampler turned into a host. But if you’re comfortable with that method, you may find the addition of something like Kontakt is all the more useful.

In the music box example, Peter looks at:

• Turning a recording into a sample
• Slicing and dicing with the Wave Editor
• Making use of presets in the Script Editor to get powerful features, then making quick modifications – no need to script from scratch

Slicing, Dicing, and Scripting a Music Box with Kontakt; Free Download

That’s a specific example. With Performance View, you can turn your sampled sounds into something that could work really well live – again, using scripts without scripting:

We’re seeing all sorts of musical sequencer creations with grids, from software to hardware like the Monome and Yamaha Tenori-On. But, of course, the whole beauty of a grid is that you could map to it whatever you like. Maybe you want your sequencer to work differently than someone else’s sequencer.

CellDS, from the creator of the popular, glitchy sample-playing homebrew DS apps glitchDS and repeaterDS, is a new DS sequencer. Out of the box, it’s already very usable. Six sequence lines play back either one of the 175 included sounds or sounds you convert for use on the DS. You can customize the scale to whatever pitch and tuning you like. A 1.2 update announced yesterday added some bug fixes and volune sliders for each of the six “engines.” WiFi MIDI support isn’t available yet, but it’s coming.

If you’re willing to write a few lines of script, each one of those sequencers can be modified to your own purposes. If “scripting” sends you running for the hills, don’t fear. Lua is a dead-simple language, so writing a few lines of script can actually be far easier than deciphering a UI. (Hey, there’s a reason we all communicate using, you know, language.)

Here’s a really simple example from the developer documentation (for would-be Lua scripters):

Line #1: function stylus_newpress()
Line #2: set_pan(X)
Line #3: play_note(17-Y,16)
Line #4: end

In other words, if you press the stylus, you get a sound, setting pan with X on your stylus and pitch with Y. Pretty easy, right?

I’m quite eager to give this some quality time. If it could sync up via MIDI, of course, it’d become far more useful as part of a bigger setup. The Tenori-On is wonderful, but customization (as also found on Monome) is often better, especially as you can think of sequencers as a kind of score.

http://www.glitchds.com/about/cellsds/

cellDS 1.2 update

If you haven’t been following the Kore @ CDM site, we’ve been picking up some great tips from contributors Peter Dines and Eoin Rossney. This video has inspired me personally to dive a little deeper beneath the shrinkwrap on Kontakt 3, particularly with its scripting capabilities:

Creative Abuse of the Kontakt Sampler

Peter Dines’ tutorial on scripting and modulation in Kontakt 3 from Create Digital Media on Vimeo.

Kontakt Tutorial Video: Creative Abuse with Modulation, Scripting

Kontakt 3 users, we’ll be curious to see what you do with that one.

User-Created, Free Modular Reaktor Powers in Kore

Also in the spirit of pushing tools past their usual capabilities, Eoin Rossney talks to Jonathan Adams Leonard, aka sleen, who has built an essential set of modular power tools for Kore, constructed in Reaktor. (He did this entirely for free as a user — nice.) What I especially enjoy about this is that Jonathan is upfront about things he felt like were missing in Kore 2 — but instead of just complaining about it, actually went and built it himself. As he tells the site:

Kore 2 was an ambitious release for any software team, so instead of complaining, I did what any enlightened engineer would do and built something. In some ways, there was no choice. NI created a semi modular matrix into which audio and midi objects can live simultaneously.

… The toolpack represents my preference to communicate where possible with solutions rather than suggestions or complaints.

I like that attitude. Eoin also walks through the toolpack tool by tool, with some tips from him and Jonathan for getting the most out of them, including some very powerful MIDI and audio capabilities. We have some other ideas for how to work with Kore live, and we’re learning from some folks who are using it out in performance, as well, so you can expect more on these issues soon.

Sound Design, Drum Machines, DSP

Also on the site: I find some percussion sound goodies from the So Percussion Ensemble by making use of the Kore Browser’s metadata options, and take a look at a pack full of retro drum machines from Crumar to Linn to Moog and Roland which could be a good use for your free sound pack. Make sure to authorize Kore this week if you have bought it, so you get the Massive synth free.

And lastly, while this is likely to convert even more of my weekends and evenings into sound programming time, I’m especially excited by Peter pointing to this set of tutorials on Core, the DSP geeks-only low-level sound programming engine deep in Reaktor:
She Blinded Me With DSP Science: Learn Core with Reaktor

That’s “Core” with a “C”, part of Reaktor, as opposed to Kore, a separate product. (Hey, I promised you this site wouldn’t just be about Kore.) Reaktor geeks, if anyone wants to join me on this brain-busting journey to the center of Reaktor, say so in comments and we can form an impromptu user group.

Stay tuned, we’ve got plenty more in the hopper for this site. Head over to kore.noisepages.com, or subscribe to the site’s RSS feed. And if you’re not seeing what you want, let us know in comments or contact us directly.