Ableton has released Time and Timbre, a Max for Live percussion instrument and ‘time engine’ that they say is the result of three years of development by the duo Skinnerbox.
The pack consists of five individual drum synthesis modules (Timbre) and a polymetric sequencer (Time), as well as a built-in mastering plug-in (Master Blaster).
About Time & Timbre
The first of Time & Timbre’s sections is a six voice polyrhythmic and polymetric sequencer called – you guessed it – ‘Time‘.
Taking the drum sequencer concept a few steps further, Time not only lets you make and chain together patterns, add accents and rolls to individual steps, but also define sequence length and beat divisions freely and independently for each of its six channels.
Another unique feature of Time is the ability to apply swing to any notes in a pattern (not just 4ths, 8ths, 16ths), thus providing highly unusual and interesting varieties of ‘feel’ for your rhythms. Time also includes four internal LFOs that can modulate anything within the device (or even any parameter in Live) and can be synced to follow the swing.
The second section, Timbre, consists of five drum synthesis modules capable of producing a broad spectrum of sounds. Timbre gives you direct control over key parameters of each drum voice including envelope, tonality and noise (a fundamental element of percussive synthesis). All this allows you to craft a broad range of drum sounds that can be as classic or as unconventional as you like.
Going even further, each drum voice can be randomized and have its parameters modulated by internal LFO, letting you infuse your patterns with any degree of subtle sound variation or controlled chaos.
Time & Timbre comes with a set of tools that present an alternative to preset browsing. For instance, the panel labelled Morph Master Mike lets you save two sound snapshots and morph between them
Time & Timbre is also integrated with Push, letting you take its= creative potential into the hands-on realm of hardware.
Note: This pack requires Max version 6.1.9 and Live version 9.1.6.
Pricing and Availability
Time and Timbre is available now. It normally retails for US $69, but is currently 20% off during Ableton’s Holiday Sale, for $55.
4DSOUND presented their system with artists like Vladislav Delay, Max Cooper, an evening with artists from the Raster Noton label, and various talks and workshops.
4DSOUND is a new immersive system which allows for evolving changes in three-dimensional positioning of sound. An expansive array of speakers, a Max-based core, and custom Max for Live devices allow for sound to be positioned anywhere within the system’s space (and beyond).
In the video above, learn about the conception of 4DSOUND from founder Paul Oomen, plus follow musician Stimming as he prepares a custom performance for the system.
In the second video, learn how Ableton Live and Max for Live facilitate an artist’s control over 4DSOUND: https://www.youtube.com/watch?v=DMWEE…
More about 4DSOUND at Ableton.com: https://www.ableton.com/en/blog/4dsou…
Product specialist Mike Greig popped in to show us just what can be done with Ableton’s Push controller as the only interface. Did he succeed? Take a look.
Kits and enclosures are available at http://groovesizer.com
An introduction of the Foxtrot firmware for the Groovesizer platform. The Foxtrot firmware is a (mute) MIDI controller, specifically intended as a clip and scene for Ableton Live. The firmware is now available for download at the Groovesizer website.
The Clipper is a compact, portable and programmable LED-lit fingerboard that can remotely run an Ableton Live session. With 144 touch-sensitive buttons you can record and play a Live set in one area and perform guitar, bass, drums, add Live beat-repeats, whatever, in another area of the Lightboard. You can now record and play clips into the Live Session View interface and control Live at the tips of your fingers while you’re moving across the stage or interacting with your audience. The Clipper’s Lightboard offers 32,000 colors and can match the colors from the Live session running in your computer, and completely wirelessly when the AirPower option is installed.
This full-color LED fingerboard controller is also very versatile and can easily be programmed to display text messages, JPEGs, and animations. In addition to that, you can set up separate colored zones on the fingerboard to play bass, drums, piano, or any sounds using Live while connecting to hardware synths via MIDI.
Gaining more popularity in the electronic music genre, Ztar fingerboard controllers are a welcome alternative for Electronic Music performers who want to interact with their audience. Noteworthy clientele include Pendulum and Excision as well as the Chemical Brothers, Linkin Park, Maroon5, Vernon Reid, Bob Weir, Lou Reed and many others. Electronic musicians and DJs can now better express themselves and interact with the audience with this advancement in MIDI controllers.
In addition to portability and convenience, the Clipper’s LED fingerboard can be programmed to display text messages, JPEG images, animations and lighting FX in response to your touch or streamed in from an external computer. The fingerboard offers 32,000 colors that can be matched to your computer’s Ableton Live session. Separate colored zones can also be set up on the fingerboard to play clips, bass, drums, piano, or any other sounds by using Live or connecting to hardware synths with MIDI. With 144 touch-sensitive keys, a live set can be recorded in one zone while solo performances can be played in another.
Ableton Live Portable Control Surface
At the core of the Clipper’s lighting control is a library of lighting commands that can be programmed on the Clipper and performed directly by playing the Clipper’s fretboard, drumpads, ribbon, knobs, joystick, and pedals. By connecting the Clipper’s USB port to a computer, you can stream live lighting FX from Max-for-Live, any sequencer, or create your own software.
Now you can control all your sounds with animated colors at the tips of your fingers, and all while moving across the stage. This Ztar Clipper LightBoard Controller is unlike any other and offers an entirely new experience to electronic musicians everywhere.
The Clipper has a full complement of hardware and software features:
- 144 velocity-sensitive RGB LED keys with over 32,000 colors
- 6 programmable Knobs
- 6 Programmable touchpads for Notes, Chords, Loops, MIDI CC’s, Lighting EFX
- Embedded bi-directional MIDI Wireless capability as an option. Be completely cable-free!
- Multi-purpose programmable Slider
- 4 way programmable joystick
- Sustain and Volume Pedal inputs
- MIDI I/O and USB2.
- Onboard Programming interface
- Easy user command set for controlling the LED lighting with any external MIDI sequencer or computer. Display and scroll text, images, and lighting effects. Get creative with Max for Live.
- Embedded step sequencer and arpeggiator
- Clipper – Clip-based Live Interactive Performance Controller
Price for the basic Clipper: $1695 MSRP, $1995 MSRP for the Clipper with bi-directional MIDI Wireless and Battery Pack
Background video description:
Last week I finally got the Ableton Push, so this sunday I’ve tried to recreate a song on the push only to find out what you can do on the push itself and as a learning experiment. I’ve recreated a very old trance classic called Alphabet Blue – Cybertrance.
Composed with Ableton Push // yehezkelraz.com
Controllerist Yehezkel Raz gives Ableton Push a workout on Paganini Etude for Push, a series of original variations on a theme by classical composer Niccolò Paganini.
AfroDJMac explores Ableton Push from an 8bit perspective, details below:
As a guitar player, I’m really enjoying Ableton Push’s chromatic note mode. The intervals are just like on guitar, so this new instrument feels very familiar! Here’s some goofing around.
Songs: “Crazy Train” Ozzy Osbourne – “Purple Haze” Jimi Hendrix – “Ain’t Talking Bout Love” Van Halen
Visit my site for more stuff like this, including Live Instrument downloads, tutorials and music! http://www.afrodjmac.com
Here is a demo Jordan Passmore recorded that is composed solely of tones from the Yamaha MU80. Ableton is sequencing most parts while he plays one patch manually. The track’s clips are all triggered by me with a Novation Launchpad. No effects were added to the MU-80.
“I feel like a lot of producers dismiss ROMplers like the Yamaha MU80 but I really, really enjoy using these things. They’re limited in a fantastic way; paired up with a solid sequencer (like Ableton) you can arrive to a place in your productions you may never thought existed.”
More info: http://blog.dubspot.com/atropolis-tra…
In the final installment of his three-part Ableton Live video tutorial on how to create a custom instrument rack for trap music production, Dubspot instructor Adam Partridge a.k.a. DJ/producer Atropolis explores the fundamental rhythm of trap.
Every genre of music has a distinct rhythm that defines the style. Understanding the attributes is the first step to creating any specific type of rhythm. I like to refer to these key rhythmic characters as “anchors”. For example, in trap, the common snare pattern falls on the third down beat of every bar. So I like to set these anchor points first. Once I have that consistant snare pattern, I am free to color in the beat with the kick pattern. Music is all about feeling. Experiment with different grid sizes, and place the kick where ever you feel like it works bests. Make sure the loop is playing while you are doing this. After you complete this step, add the hi-hat pattern. – Adam Partridge