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  • #61
    Can the footswitch(s) of the apc-40 be configured to emulate the space bar in Live (start/stop); with the same pedal? If not, it is absurd that Live can't make the spacebar visible as a MIDI control for this function .....
    "Flamenco Chuck" Keyser
    http://www.flamencochuck.com

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    • #62
      As far as I can tell - Dennis, correct me if I'm wrong - it's not possible to toggle play/stop with a single footswitch. You would have to plug the Start footswitch in FS1 and the Stop footswitch in FS2. I assume this is because control can be assigned only to those parameters shown on screen, and there's no "toggle play/stop" button.
      N E W S O N G ! To Say 'No' Would Be a Crime (Remix) is now streamable from my YouTube channel.

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      • #63
        The first audio example shows how the sound changes when rotating the Depth control from fully counter-clockwise to fully clockwise. It starts off with the modulation having very little effect, but as it turns up, the modulation affects the sound more and more.

        The second audio example illustrates how the formant control changes the sound. As you can hear, it changes the sound's timbre.

        You'll also recall from previous pictures there's a Precise/Retro switch. The third audio example is the Vocoder in Retro mode, with other controls set to their defaults, while the fourth audio example uses Precise mode.
        N E W S O N G ! To Say 'No' Would Be a Crime (Remix) is now streamable from my YouTube channel.

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        • #64
          Am I the only one in the world who finds this absolutely absurd in a performance oriented DAW. I'm a guitarist, and want to use Live as backing, controlling stop/start with a simple (toggle - fs-6) footswitch.

          This is a Live issue; and it would be an easy fix to make the spacebar visible and assign a MIDI parameter to it. It is hard for me to understand why (in an otherwise brilliant program) this simple but powerful capability has been rejected.

          (Sheesh, even the Boss BR series does this)

          I have written Ableton over and over again about this, and simply cannot understand why this feature is not an inherent part of the program....


          As far as I can tell - Dennis, correct me if I'm wrong - it's not possible to toggle play/stop with a single footswitch. You would have to plug the Start footswitch in FS1 and the Stop footswitch in FS2. I assume this is because control can be assigned only to those parameters shown on screen, and there's no "toggle play/stop" button.
          "Flamenco Chuck" Keyser
          http://www.flamencochuck.com

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          • #65
            Well, you can't record solo button clicks either...that's been lacking since day one and never fixed.

            Ableton tells me that function is embedded so deep in the code that it would require a serious rewrite to make it do what I want it to do. Maybe the Stop/Start thing is the same way.

            Maybe the solution is to put a jack in your QWERTY keyboard and wire it in parallel with the space bar!
            N E W S O N G ! To Say 'No' Would Be a Crime (Remix) is now streamable from my YouTube channel.

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            • #66
              I think a solution would be to write a MAX patch that takes the input from the footswitch and then toggles between the value of start and stop and then sends the aforementioned signals to ableton. I would write it, but i don't have the footswitch. Maybe I will get one and write it.

              Mike

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              • #67
                Of course! That makes a lot of sense, and I guess that sort of thing is one reason why Live has the "hooks" for Max.
                N E W S O N G ! To Say 'No' Would Be a Crime (Remix) is now streamable from my YouTube channel.

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                • #68
                  I cannot wait for Max-For-Live! I am mainly a Logic user. But I anticipate using live a lot more when Max-for-Live comes out. My Jazzmutant Lemur is sitting, patiently, waiting for some great integration with Live. Write now I have to write a Max patch and have a separate app running with all the connections to the hardware and software. I believe Ableton and Cycling 74 have a winning combination with Max-for-Live.

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                  • #69
                    Now that we've covered the effects, let's look at the overhauled warping engine. First, though, we need some backstory before we get into the nuts & bolts.

                    I've always had a love/hate relationship with Live's warping. The Love parts:

                    * You can bring in just about anything, and Live will figure out the measure length and loop it correctly most of the time.
                    * There are different algorithms you can choose to optimize the warping quality.
                    * The Complex Warping, where you can import a really long file (even one recorded in free time) and Live figures out where to put the transients and pins them to a tempo, is essentially magic.

                    The Hate parts:

                    * Unlike Acid or Sonar, you couldn't actually DO anything to optimize the looping, like edit transient markers.
                    * I always felt moving warp markers was counter-intuitive: Instead of moving the waveform against a fixed time grid, you moved the time to match the waveform...although you were actually moving the waveform. Confused? Don't worry about it, that's not an issue in Live 8.
                    * When using the beats algorithm, if the beat fell in the middle of a sustained section (e.g., an open hi-hat or cymbal), there would be a slice and you would hear a discontinuity, regardless of whether it actually needed to be sliced.

                    So let's hear it for Live 8, which eliminates all the problems I had with warping thanks to the overhauled warp engine! In the process, Live has gone from "looping is a no-brainer" to "looping is a no-brainer, but if you want to use your brain, you can."

                    I love it. I'll go away for a bit to generate some audio examples and screen shots for the next few posts.
                    N E W S O N G ! To Say 'No' Would Be a Crime (Remix) is now streamable from my YouTube channel.

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                    • #70
                      The key to optimizing stretching is being able to edit the transient markers that instruct a file where to stretch. This is something Acid and Sonar have been able to do for Acidized files, the Apple Loops utility from Apple does optimization for Apple Loops, and Cubase has the ability to create "hit points," among other examples. Now, Live gives you this option as well.

                      Referring to the first attached image, when you go to warp a clip Live generates transient markers where it thinks transients are. These are circled in red. The one around 3.3.3 lines up with the transient, but the transient doesn't line up with the beat. The one around 3.3.4 is ahead of the transient and a bit ahead of the beat. Live can fix all of these issues.

                      If you shift-click on a marker and drag it left or right, it displays a yellow square. You can then drop the marker anywhere you want - typically, right at the start of a transient. The second attached image shows that the marker at 3.3.4 has now been moved to the exact start of the transient, which interestingly enough, falls right on the beat.

                      If you ctrl-drag a marker, it turns into a Warp marker. You can then drag this and the transient it's associated with right to the beat. The third attached image shows the final result of moving these three markers as appropriate, then "pinning" them precisely to the beat.

                      Next, some audio examples so you can hear that the stretching doesn't mess with the fidelity very much - and also, a fun surprising thing you can do with markers.

                      Stay tuned...
                      N E W S O N G ! To Say 'No' Would Be a Crime (Remix) is now streamable from my YouTube channel.

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                      • #71
                        Okay, here are some audio examples of stretching in action on a couple guitar riffs. I recorded these with a drum pattern so you'd have a rhythmic reference, making it easier to hear the changes.

                        The first audio example takes a guitar riff and tightens the timing. In the original, the offbeat is a little premature, and there are some other loose timing issues as well. The second audio example is quantized, and locks in with the drums really well.

                        The third audio example is more dramatic. The original riff uses syncopation that worked well in one context, but didn't sound so great with a straight drum part. The fourth audio example changes the rhythm around completely, making the riff more useable with non-syncopated drum patterns.

                        What's also worth noting here is the sound quality. Lots of stretching algorithms do okay with something like drums, but have a hard time dealing with complex sounds like distorted guitar. In these cases, the stretching hardly affects the sound at all.
                        N E W S O N G ! To Say 'No' Would Be a Crime (Remix) is now streamable from my YouTube channel.

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                        • #72
                          I hope this is not too far off topic, but I have a hard time wrapping my brain around using Live and the APC40 on stage. I am a guitarist and have a Boss RC50 looper but I would like to create more/better.

                          So what does a performer do, set up the APC40 and a laptop on a stand near them and create on stage by walking back and forth to the device, etc.

                          Maybe there is some here at HC that addresses techniques for using this setup as a live musician. Can anyone point me somewhere where I can learn/study how others do it. Any help appreciated.
                          Rick

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                          • #73
                            Well I'm a guitarist who uses Ableton Live with a control surface, so I can definitely offer some advice!

                            I always have a small table set up where I can put the laptop and control surface (formerly the Peavey PC1600, but I'm transitioning over to an APC40+Launchpad setup). I stand when I play, and have the table in front of me. When I'm working with the loops and control surface, the guitar hangs around my neck but when I'm soloing, I usually step off a bit to the side for visual reasons.

                            Incidentally I don't feel the need to use physical effects with the guitar, I just feed into the audio interface and use plug-ins for processing. Live 8 has a very nice looper, you may not need to take the Boss RC50 looper with you any more.
                            N E W S O N G ! To Say 'No' Would Be a Crime (Remix) is now streamable from my YouTube channel.

                            Subscribe, like, and share the links!

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                            • #74
                              This has been awhile, but one solution is to buy a transcriber's footswitch or a Pok, and setting it to trigger the spacebar in its software. A problem arises because there is a significant delay (latency) in pressing the switch, since the software waits to see if there will be a second press within a half second or so. However, you can usually turn this off in the software.......


                              Well, you can't record solo button clicks either...that's been lacking since day one and never fixed.

                              Ableton tells me that function is embedded so deep in the code that it would require a serious rewrite to make it do what I want it to do. Maybe the Stop/Start thing is the same way.

                              Maybe the solution is to put a jack in your QWERTY keyboard and wire it in parallel with the space bar!
                              "Flamenco Chuck" Keyser
                              http://www.flamencochuck.com

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                              • #75
                                I am a newb with some experience using Reaper to record my guitar amp and vocals at home. I am looking at getting more serious about my DAW and creating a lot of electronic music as well as my audio metal. I was going to get Cubase 6 as I feel it is has everything I need in one box to record, mix, edit and create music including sample sounds and synths.

                                When I mentioned to someone that I was really interested in creating totally electronic music as well as recording audio, they suggested Ableton Suite 8. Combined with the Akai controller it looks like a really good out of the box solution that would fulfill all my creation, editing, mixing and rendering needs. I could spend quite a long time getting to know this product.

                                Can Ableton Suite 8 (or Live 8) do everything that Cubase 6 can in terms of recording, editing, mixing and rendering audio? Is Ableton Suite 8 totally 64 bit? If not it would not make sense to buy it as 32 bit stuff is going out. Cubase 6 is 64 bit so cool.
                                '76 Explorer, R7, '60 CS Strat
                                JMP100 MV, Mesa DR, Roland JC60
                                4 x 12 JCM900, 4x12 Recto

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