Fresh from Dubspot
It’s not Hammertime,
It’s not ,
it’s WARPER TIME!
Dj Shakey and !INCLUDE present the monthly party:
WARPER 2 Floors of Omnidigital DJs
and Biomorphic Musicians!
WEDNESDAY April 1st.
Live Music from 8pm sharp 17+ electronic music performers Projected Images, Workshops, and Interactive Art too
The Delancey[read more...]
Another popular destination for many DJ students is Dubspot (348 W. 14th St. between 8th and 9th avenues). A small space tucked away in the Meatpacking District, it is equipped with the latest gear for electronic-music production, from standard Technics[read more...]
by Michael Hatsis Here’s a quick video demonstrating how to create a dubstep style, wobble bass in Ableton Live using the Simpler Instrument. Enter your email address below to download the wobble bass samples from this tutorial. Explore and enjoy![read more...]
By starting to put together a performance like a DJ, I learned how to Remote Control Ableton Live via a midi controller and computer keyboard; and explored how to make my music more dynamic by changing mixer and device parameters over time using Automation. In the future, if I am lucky enough to play my music publicly, this lesson will allow me to spend more time performing and less time clicking a mouse or staring at a computer screen.[read more...]
One aspect of Live I find most interesting is the variety of ways it is used – Live is a true swiss army knife of audio applications. A tool with which users of all levels can perpetually learn new techniques and workfows. I consider myself a pretty advanced user and I’m constantly picking up little tricks and workflow enhancements from different people.
Akai’s APC40 marks the first time Ableton has officially put its name on a control surface. Ableton’s philosophy towards Live is that it is an open ended application, and is used in many different ways.[read more...]
New Workshops & Courses Live Performance with Ableton Live* Starts Tuesday March 10th 5:15-7:00 “Explore the use of Ableton Live in a performance setting, with controllers, macros, custom patches, and design strategies that allow you to create your own instrument”[read more...]
Jon Margulies created a 34-page printed packet that was handed out to the class, the packet breaks down the lessons from all the Ableton Live: Level 1 Remixing classes by providing close up screenshots and highlighted notes. I find it very useful during the week for specific reminders on what we learned in each three hour Sunday course.[read more...]
The ability to easily extract timing from audio or midi material and create templates takes quantization to a new level. Not only can we now transfer real live feel to alter machine grooves, but this also will make it easier to tighten up just about anything in our set for a cleaner sound, thus adding a new level of control to electronic music making.. so instead of correcting a live performance to a quantization grid, we can use a groove pattern to brake evenness in a controlled way and add a less repetitive ‘live’ feel.[read more...]
Class four was all about starting our own remix, to achieve this we went over the fundamentals of Ableton Live taught in the first three classes. Jon handed out a ‘Workflow & Technique checklist’ that summarized what we have learned up to this point, the main bullet points in the list are Navigation, Making Variations in the Session View, Programming MIDI, and Arrangement Editing. By understanding all of the techniques in the checklist, we will be able to take sounds, use them as ‘raw material’, make variations to the sounds, add original parts with MIDI, and then edit the sounds in the arrangement view.[read more...]
With our course overlapping the holidays at the end of the year, a few students and I missed the second and or third class. I was vacation in Japan and missed both. The cool thing about taking classes at DubSpot is that if you miss a class, you can catch up during lab time, or at a makeup class. Jon scheduled our makeup class to cover the main points from class one and two (navigating around the interface of Ableton Live)and focus on what we missed in class three, which was all about MIDI.
Two important signal processing have been conspicuously missing in previous versions of Live: multi-band dynamics and limiting. These devices, used for improving dynamic control and loudness, have finally been added to Live’s palette of audio effects, and will make life easier for those who previously felt compelled to export their project to other DAWs for mixing and mastering.
Often used in combination, these two effects constitute a classic combination to finalize a project before exporting. An important weapon in the ongoing loudness wars, their purpose is to optimize loudness without squashing and altering the mix.[read more...]
Sometimes its the little things in life that make us happy. With each new version of Live, this becomes more and more apparent to me. Sure, who doesn’t like the flexible new groove engine, or the dazzling new Looper device.
Both are great new tools that will change the way we create and perform music.
But, we human beings are visual creatures. For most of us, sight dominates the way we perceive the world. That said, one of the nicest things about Live is working with it’s slick and streamlined interface – and for me, it’s the ongo ing visual improvements and cues that really make Live stand out from the rest. Let’s take a quick look at a few visual enhancements added in 8.
MIDI Editor - Individual MIDI notes now show the names of the notes they represent. Better yet, when programming drums the MIDI notes will display the name of the drum rack pad or Impulse slot they will trigger.
BAM “Sounds Like Brooklyn” 2009 Music Festival presents DEGREES OF FREEDOM DJ KIVA ALBUM RELEASE PARTY performing new album LIVE with 9 piece band! featuring: DJ Kiva / Keys & Live Electronics Onome / Vocals Sunru / Vocals Daru Jones[read more...]
“Learning to Make Music with Ableton Live”
Q: What was your most memorable gig, good or bad?
A: Good, definitely. Too many to remember. Playing on a beach with London at Bar Rumba with Luke Solomon and Kenny Hawkes. Playing with Frankie Knuckles and Ron Hardy at Vic Theater in Chicago. Opening for Kraftwerk at Coachella, etc…on New Year’s Eve, first gig in
Q: Is there any gear that you’re currently lusting for and why?
“Matrix” 32 channel DAW controlled mixer, would be great for fusing analog gear to digital with may options.
Q: What is your favorite piece of studio gear?
A: AKAI MPC-4000, MPC-2500 or Elektron machinedrum SPS-1UW. Easy to use, lots of fun![read more...]