Music software can make you feel good. Music software can also make you feel almost guilty. And sometimes that makes you feel good.
David Abravanel takes the updated Live 9.5 Instant Haus device (in Max Essentials) for a test drive, in combination with Simpler’s new slicer mode. Somehow, no one has done a video on this yet – maybe because they don’t want you to see how easy is to make breaks. With Instant Haus’ new pattern options for breakbeat-style sequencing, it’s crazy easy. That’s also a chance to show off the extra-gritty new modeled-analog filters.
And if you’re thinking this could be a way to breathe new life into old clips, you’re right
I could imagine this being creatively abused for a variety of genres, too. I know I’ll be playing with it.
For our full review of Live 9.5’s new stuff, see:
Here are the best new features in Ableton Live 9.5
And for the review of the new Ableton Push hardware (“Push 2”):
Ableton Push 2 Hands-on Review
So Instant Hause is a Max for live device? (Just have basic Live Version)
Yes. Part of Max Essentials
So Instant Hause is a Max for live device? (Just have basic Live Version)
Yes. Part of Max Essentials
So Instant Hause is a Max for live device? (Just have basic Live Version)
Yes. Part of Max Essentials
Where did you get the updated Instant Haus device with Breaks and presets?
Right, exactly.
Where did you get the updated Instant Haus device with Breaks and presets?
edit: Figured it out. Have to re-download the Max for Live essentials pack.
Right, exactly.
Where did you get the updated Instant Haus device with Breaks and presets?
edit: Figured it out. Have to re-download the Max for Live essentials pack.
Right, exactly.
It seems to me that the Instant Haus-Presets are gone after saving and reloading a liveset. Anybody with the same issue?
It seems to me that the Instant Haus-Presets are gone after saving and reloading a liveset. Anybody with the same issue?
It seems to me that the Instant Haus-Presets are gone after saving and reloading a liveset. Anybody with the same issue?
damn, simpler got filters hehe, i am still with 8
i assume they track pitch
damn, simpler got filters hehe, i am still with 8
i assume they track pitch
damn, simpler got filters hehe, i am still with 8
i assume they track pitch
I did something similar with the new ARP device. Results are interesting. Probably be really easy to cook something up in M4L specifically for this task.
https://www.youtube.com/watch?v=tr91KfEEDOE&feature=youtu.be
Ooh, nice idea, actually! Thanks! Yeah, I’ve done that with the old drum racks but it’s ore convenient with these new devices.
Man, it already looks like you cooked up something!
I did something similar with the new ARP device. Results are interesting. Probably be really easy to cook something up in M4L specifically for this task.
https://www.youtube.com/watch?v=tr91KfEEDOE&feature=youtu.be
Ooh, nice idea, actually! Thanks! Yeah, I’ve done that with the old drum racks but it’s ore convenient with these new devices.
Man, it already looks like you cooked up something!
Hi Jon, Just revisiting this now that I’ve had mixed results with the arp device. There’s a sweet spot to find for sure. What do you have running in your clips? A looped C3?
I think it would take a particular talent to improve upon the sequencers already at our disposal.
Trying to think of the best criteria for making this work:
1) Does it have to be a mono-sequencer? Depends on the material, I guess. Although even linear drum patterns could be nice, and the sampled material might contain multiple hits.
2) the sensitivity knob does not dictate in absolute terms how many pads will be generated from the slicing. That depends on the number of transients, I suspect, (their equal spacing euclidean, or their intensity?), and these values I suspect are not accessible within the M4L Live Object Model.
3) Therefore it would be a challenge to design a sequencer that could accommodate the correct range of pads, unless you deliberately embrace rests in the resulting pattern. (which in my mind is a happy outcome.)
4) Again, the subsequent milage from the sequencer really depends on how you want to approach the material. So it would take a series of them, I think, that incorporate the additional conveniences addressed above.
5) How do you space them? Round robin each note? Let each lane of the sequencer cover a range? What behavior describes how they’d move around their center? Is is scalar to account for how the pads were assigned?
6) Should it be restrictive to a number of voices on the simpler?
7) Even adding a note-out patch to the note selector, a solo, or whatever is needed to preview the sound being struck whenever the note knob is turned, would be an improvement. Then you could watch and listen while you preview the notes to hit along the sample. Either that or get the drop-in feature on the Push 2 as the sensitivity is turned down to 0.
I did something similar with the new ARP device. Results are interesting. Probably be really easy to cook something up in M4L specifically for this task.
https://www.youtube.com/watch?v=tr91KfEEDOE&feature=youtu.be
Ooh, nice idea, actually! Thanks! Yeah, I’ve done that with the old drum racks but it’s ore convenient with these new devices.
Man, it already looks like you cooked up something!
Hi Jon, Just revisiting this now that I’ve had mixed results with the arp device. There’s a sweet spot to find for sure. What do you have running in your clips? A looped C3?
I think it would take a particular talent to improve upon the sequencers already at our disposal.
Trying to think of the best criteria for making this work:
1) Does it have to be a mono-sequencer? Depends on the material, I guess. Although even linear drum patterns could be nice, and the sampled material might contain multiple hits.
2) the sensitivity knob does not dictate in absolute terms how many pads will be generated from the slicing. That depends on the number of transients, I suspect, (their equal spacing euclidean, or their intensity?), and these values I suspect are not accessible within the M4L Live Object Model.
3) Therefore it would be a challenge to design a sequencer that could accommodate the correct range of pads, unless you deliberately embrace rests in the resulting pattern. (which in my mind is a happy outcome.)
4) Again, the subsequent milage from the sequencer really depends on how you want to approach the material. So it would take a series of them, I think, that incorporate the additional conveniences addressed above.
5) How do you space them? Round robin each note? Let each lane of the sequencer cover a range? What behavior describes how they’d move around their center? Is is scalar to account for how the pads were assigned?
6) Should it be restrictive to a number of voices on the simpler?
7) Even adding a note-out patch to the note selector, a solo, or whatever is needed to preview the sound being struck whenever the note knob is turned, would be an improvement. Then you could watch and listen while you preview the notes to hit along the sample. Either that or get the drop-in feature on the Push 2 as the sensitivity is turned down to 0.
“The MPC60 got analog filters”. The MPC60 got no filters at all. And the MPC300 has filters, but they are not analog. How do people that clearly have no experience with using these machines come to think they are the right ones to propose modeling solutions on their behaviour / sound?
Yes, I was like ” whaaat?”. I must say my dream machine would be an MPC with several analog filters 🙂
Did you ever use the akai filter module. It was designed to attach to an MPC2k but works for any hardware like a channel strip filter. http://www.vintagesynth.com/akai/mfc42.php
This one is easier to find
http://www.vintagesynth.com/misc/electrixfilter.php
“The MPC60 got analog filters”. The MPC60 got no filters at all. And the MPC3000 has filters, but they are not analog. How do people that clearly have no experience with using these machines come to think they are the right ones to propose modeling solutions on their behaviour / sound?
Yes, I was like ” whaaat?”. I must say my dream machine would be an MPC with several analog filters 🙂
Did you ever use the akai filter module. It was designed to attach to an MPC2k but works for any hardware like a channel strip filter. http://www.vintagesynth.com/akai/mfc42.php
This one is easier to find
http://www.vintagesynth.com/misc/electrixfilter.php
“The MPC60 got analog filters”. The MPC60 got no filters at all. And the MPC3000 has filters, but they are not analog. How do people that clearly have no experience with using these machines come to think they are the right ones to propose modeling solutions on their behaviour / sound?
Yes, I was like ” whaaat?”. I must say my dream machine would be an MPC with several analog filters 🙂
Did you ever use the akai filter module. It was designed to attach to an MPC2k but works for any hardware like a channel strip filter. http://www.vintagesynth.com/akai/mfc42.php
This one is easier to find
http://www.vintagesynth.com/misc/electrixfilter.php
Makes me miss Sound Forge, Acid, and Recycle. I now use a auto-slice to midi for Sampler. I’m still on Live 7.
Makes me miss Sound Forge, Acid, and Recycle. I now use a auto-slice to midi for Sampler. I’m still on Live 7.
Makes me miss Sound Forge, Acid, and Recycle. I now use a auto-slice to midi for Sampler. I’m still on Live 7.