The speculation on the next true release of Ableton is still around. The rumor mill is active. Conjecture is very strong. But until we get anything truly interesting Ableton, it would seem, will continue to release peripheral content to placate the user base. The current release (8.x) is approaching critical mass as we exceed 3 years on the shelf.

I will save the reader masses my bug fix and new feature list (for now) and instead encourage people to get all they can out of 8.x as a new release (or bankruptcy*) is looming – for better or worse – looming. Enjoy the EP if you decide to invest in such a manner.

* I doubt the company is folding, but 3 years is a long time!

To learn more, visit this link : http://www.ableton.com/library/electric-pianos

If you are looking for a little more tone on the LivePA set or a reasonably priced secret weapon for the studio, consider this limited edition pedal. And do check out the video. Thanks again Gear Junkies!

To learn more, visit this link : http://www.gearjunkies.com/news_info.php?news_id=7316

[conjecture time] As we suspect, Apple does not like Java, and this was/is a clear example of Apple patching slow to let Java get more bad reputation/coverage/dislikes. Not being a fan of Java it is still clear that this type of behavior is unacceptable as the patch was pretty simple and Apple threw out other patches in the ~6 months since this was detected.

So, Apple clearly shows their true color here, a brownish “dirt bag” hue. I don’t like to be critical on anyone in such a manner on this site, but this should be filed under “lame” as Apple failed to respect the user base (such as musicians) who use Mac products in mission critical areas. The Ars link has all you need – Good luck!

To learn more, visit this link : http://arstechnica.com/apple/news/2012/04/how-to-check-forand-get-rid-ofa-mac-flashback-infection.ars

Stress testing comes in many flavors. Testing a unit and generating load and stress is a key diagnostic element. In the world of programming, an application (choose your language) is constructed with the best intentions. The perfect world of the development arena may not always work out correctly once in the wild. To help diagnose a bad design, find breaking points, or discover a bottleneck, stress testing and load generation is an important tool.

The goal is to understand how an awesome idea will hold up to large traffic and high volume system calls. On the web this is often accomplished by getting massive traffic on the site and watching the computers (via heat and the threads), metrics, reporting systems, and error logs. In dedicated applications there are many ways to create controlled stress to see how elements perform or find weak points. Let’s focus on Ableton and DAW applications and a simple model to stress test.

In Ableton stress testing can be accomplished by creating a single instance (unit) and duplicating like a mad man. Running a single unit may read 1% or 4% CPU. At this level the data does not speak to stress at all. However, when you run that instance 24, 48, or maybe 200 times (all at once) the Ableton CPU Load Meter meter now relinquishes useful data. The increased units using the processor multiplies the load into a usable metric. The metric (via the CPU Load Indicator in Ableton) reflects the application unit multiplied.  In the stress test included below a noise gate is run as 1x, 24x, and 48x unit using a MIDI method via Simpler and using a noise file audio clip.

I was working on an extended piece on noise gating and this stress test was born in the experimentation process.  It is interesting how the CPU began to quickly express variances between the MIDI based Simpler use and the non-MIDI audio clip use. First at 24 instances (48 tracks, but 24 pairs of Source and Target interactions) the CPU meter began to diverge. At 48 untis (96 tracks) the difference widened . Here are the results I was able to measure and report on :

The 2 methods tested were noise gates driven by MIDI via Simpler and by clip (non-MIDI). Three reference points were used each under 2 load types. Download the test (below) and try for yourself.  Feel free to duplicate the 24 unit instances further (as your computer permits).  Ableton 8.2.2 recommended.

Tools in effect

• Simpler (type of sampler included in most every Ableton distribution)
• Gate (also a great stress test because of the look ahead function)
• 2, 49, 97 tracks grouped (will not work with free or lite versions due to limitations in these versions)

The Reference Points

• 1 Unit : One each Noise Source and Gate Target
• 24 Units : 24 pairs of Noise Source and Gate Target tracks – 48 tracks total – grouped
• 48 Units : 24 pairs of Noise Source and Gate Target tracks – 86 tracks total – grouped

The load types

• Normal : The high and low CPU Load Meter in Ableton after 10-20 seconds of continuous play
• Stressed : Triggering all instances at the same time, rapidly, with quantize set to None (for 24 and 48 units) and recording the highest CPU Load Meter reading

Be sure and keep all of the other system variables stable on the machine, such as background operations (preferably as few as possible), and use a warmed up machine that is at operating temperature.

Conclusion

The results, listed above speak directly to Ableton handling audio files in the audio engine more efficiently. Put another way, it takes more CPU to process and translate MIDI even in a simple (Simpler) sense. Synthesis, as expected, is a CPU hog.  I know this is hardly rocket science, but the “madman” style of unit duplication is a simple and effective way to determine efficiency in processing units. This test can easily be performed on any DAW. Now get to work!

Richie is one of “those guys” that has the experience and vision necessary to work with a team such as Livid Instruments. Livid is growing every year but still keep the staff small allowing them to be agile in development to roll out the new ideas without the managers committee messing up a perfectly good idea.

I am a huge Livid advocate as this is the specific company, brand, and device series that finally allowed me to express my ideas in Controllerism correctly. Not everyone can be so lucky to have a custom controller built per spec like Richie. With some time and reading this is possible as Livid has a “DIY” series.

www.youtube.com/watch?v=dO7hFqdhi-s

The grid performance, real time manipulation, forward looking technology, and the balls the try something new is bridging the gap between the musician and where DJing has stopped. Look to Moldover (among many others) to see how these things continue to grow.

This is a great example of where things are going and why the DJ is at a great risk of being left behind. Moldover’s years of promoting Controllerism gives him a tremendous head start on the DJs who are still complaining about the death of vinyl.

Despite the editing, a little glossy, and the hype, we still see the sincerity that is Matt and his cool personality. Take a look and pay attention as times are changing.

To learn more, visit this link : http://createdigitalmusic.com/2012/04/moldover-vs-traktor-kontrol-f1-in-live-sampling-mash-mayhem-videos/

www.youtube.com/watch?v=24ne21iIxC0

We are experimenting with a new app we built that pulls our posts in directly from Delicious.com feeds.  We believe that the trend for content and sites such as Modern.DJ is less writing and editorial in preference of shorter articles and a “shot gun” type of blast.

This allows readers to consume faster and gain more from our site.  Here is post number #1 from the new application.

On the topic of Controllerism consuming DJ, this is real. The DJ model has inherent barriers that stifle innovation because the speed of innovation is much faster than the DJ legacy. Only in controllerism and technology focused endeavors will music performance move forward as the DJ legacy focus on the mix and the “party”. With all due respect to the party, the technology is where the rel fun happens for so many of us! The party will always be there just as there will always be people innovating through technology.

This is post number 1 via the Delicious Post-Maker app - what do you think?

www.youtube.com/watch?v=x8Rf2vZqiSg

credit teakettle via sxc.hu

The CD or DVD may be the last time you hold a physical copy of your favorite music, it seems official.  As Wired reports the top industry names are looking to redefine the album in the digital age. The goal is to include lyrics, album art, and other particulars with the download.  Is this really missing element in modern music?

Album art is a beloved element of music, but with band websites, Facebook, Twitter, dedicated apps, and a long list of other means to connect, buy, share, and revel at the majesty of favorite music is a new format really necessary? Another key point in the discussion is the format wars, the last major battle was in DVD formatting where Blu-ray(tm) won the battle.  Now a “CMX” format is under consideration, a format apparently rejected by Apple and possibly starting a new format war!?

One interesting sidebar in the re-rise of the album is the lawsuit that Pink Floyd brought against EMI (and won). The battle centered around a contract clause that states a requirement to “preserve the artistic integrity” of their albums. At the root of this argument is the composition of an album and not a collection of songs. Pink Floyd created an experience with a story arc, ordering and arrangement of the work to convey an idea that is greater than the sum of the parts. While EMI bluntly claimed that they owned the material and the clause did not apply to new media formats (digital downloads) and was clearly looking to squeeze a few more dollars out of the album using a $0.99 item price stepping away form the (nominal) $10 album price point.

The Pink Floyd win underscores how the album, as a number of parts and ideas, is important. The issue at hand is “Do we need a new format?”. Unfortunatly this will not be up to the public to decide.  Big music is failing and dying, the oxygen tank that is keeping their cancer ridden body alive is running very low. SOPA and PIPA were annihilated by public dissent, the industry is doing a poor job defending (bringing lawsuits) against file sharing. As contracts are completed more and more bands are leaving the legacy labels to release music on their own terms.

credit lawboy via sxc.hu

Consider Nine Inch Nails releasing a huge body of work on their own terms as well as all of the stems for remixing via http://remix.nin.com/.

Another band that went about their own methods is OK GO (Wikipedia/Band Site) where they suffered unimaginable abuse from their label (EMI) and finally freed themselves from the bondage of the corporate money machine.A fascinating story of suppression, lies, and everything you woudl never want to happen to your music.

Then there is another band you may have heard about named Radiohead. The “pay what you will” model they used for “In Rainbows” included $0.00 (free). And even with the free option in effect it was clear the removal of the corporate money machine was a good move. The band claims that the “In Rainbows” release cycle provided a greater net for the band members than all other works combined. That is serious business.

So now what? Do you want art? Do you want new players? Do you want a new DRM battle all over again? (remember iTunes removed a vast majority of DRM in their system).

Can we even tell these companies what we want? Would they listen? Do they care? Do they see the legacy business model as hopeless like so many others?

Since the 19080′s take over of the music business by lawyers and accountants and the consequential “firing” of the creatives and music lovers from the business the system has increased the greed-factor many times and in general harmed the music business to such a degree that remix culture, underground music, and applications like Soundcloud have become part of the new norm.

That new norm is in the hands of the people, as it should be, and most importantly out of the hands of the people who take advantage of truly creative people in preference of profit, exploitation, bad deals, and, as mentioned earlier, corporate bondage.

Free yourself now and support local artists, go to shows, like the fan pages, subscribe to twitter feeds, get on email lists, and buy merchandise from artists you care about.

Or you can be force fed what the lawyers and accountants think will yield the greatest profit.

credit : sxc.hu / bweb

If you’ve heard it once, you’ve heard it a million times: You can’t make it big in this industry if you don’t make your own music.

So you have your DAW, your monitors and a slick new computer, but now what? If you have been struggling and slaving away with the stock sounds that come with your program, wondering why things take so long and sound so cheesy, then help is here. Loops will help you get that perfect sound, rhythm and funk you’ve been looking for.

Where to buy

There will be some overlap with various loop packs, but for the most part, each of the following sites will have packs exclusive to them.

Loopmasters

Loopmasters is a very clean and friendly, offering some of the biggest packs from the biggest names in the business you can get, and is probably considered by most as the best site out there, most of the time. The also have great customer appreciation, because every pack you buy earns you money toward your next buy! You can also rate the packs you’ve bought and get about 50 cents.

Loopmasters also has a podcast called LoopTV with artist interviews and in depth tutorials, as well as some cool documentaries and other videos, which are great for a lazy day. The down sides are that the prices are in Euros (stronger than the dollar, ouch!), and their packs are on the pricier side of things. But as with ALL the equipment you are going to need to make your own music, you get what you pay for. And if you truly want to be signing tracks to Toolroom one day, you are going to need plenty of costly gear to get there. Be prepared.

Sounds to Sample

Sounds to Sample is a great site as well, with plenty of selection. The packs are usually really solid quality, and all prices are in good ol’ American. They also do cool producer interviews called “Q and A” with people like Joris Voorn, that have great advice on everything from music production to making it as a young artist. They also offer written and video tutorials, tips and tricks.

Traxsource

Tracxsource is mostly known as an online music store for DJ’s, and is a great alternative to Beatport for House/Tech House/Techno DJ’s, but they also offer loops. They also have a nice feature that differs from other sites: They split the pack up into all its different pieces and allow you to buy them individually.

Platinum Loops

Platinum Loops is where we start to see the difference between the good, the bad and the ugly. They are much cheaper (most of the time) than the above-mentioned sites, but the sound quality is worse and the word “corny” comes to mind. I will save mentioning any more sites that are on this end of the spectrum. Just Google “House music loops,” or whatever style you’re after, and you will find plenty.

What to Watch For

The key things to watch for are price, sound quality and the professional experience put forward. If the loop pack has some cheese-ball, tarted-up raver girl in sunglasses on the cover and the loop pack is called X-TREEM TRANCE VOL 2 or some nonsense, chances are you should stay far away. But, as with everything, money is an issue. Most producers will almost never turn down a free pack, even if they make Trance and it’s a few Drum and Bass loops. And sometimes you really want some new sounds but don’t have $60 to spend.

Now, as you will see when you start buying is that these sites are simply aggregators for the many, many companies that actually make these sounds, like Zenheiser, Sony and others. You can go directly to their sites, but the prices are usually the same (sometimes higher) and you are limiting yourself to one brand. Also, when you start buying loop packs, take notice of what your favorite brands are.

What to Look For: Construction Kits, Loops, and the “nutritional value”

Obviously you will be looking for a style of pack that fits your genre. But what kind of packs are you looking for? Some artists like packs known as construction kits. These have a lot of single hits, like claps, kicks, percussion’s, stabs, synths, and bass hits so they can make rhythms and bass lines that are all their own. But when first starting off making your own songs, something like that might be way over your head, and extremely time consuming. This is where loop heavy packs come in.

Loops are a great way to learn about things like arrangement, timing and simply to help you get your feet wet making a track. They can also be chopped up, sampled and rearranged, or simply used as a template to get an idea of the sound you are going for, but then discarded when you have your own thing going.

So as you work with packs more and more, you will get a feel for what you like and what you need. Get used to reading the “nutritional value”, or the big list of what is included in the pack. Is it all loops? Is it mostly single hits? Any vocal samples? How about FX? If your library is feeling a little light on vocals (and when is it not?), sometimes you might end up buying a vocal-loop heavy pack with some less than desired loops in it with the understanding that you may never touch those loops.

A Few Last Tips

A good zip program, like WinZip (available for Mac as well), and internet connection is essential for downloading the large files packs come in. Also, know that if you are ever in a pinch and just need a quick vocal sample, try searching the net for a free download before you buy.

Don’t rely on loops to make your music. As I mentioned earlier, loops and loop packs are essential for making electronic music for cheep. Sure, one day you can go get a giant $5000 synthesizer and make kicks on your own, but until that day comes, we have the Internet!

But don’t get sucked into “drag-and-drop” music making. Any monkey with a mouse can throw a bass, perc, high and vox loop from a pack, throw ‘em together with some FX and a breakdown and call it a song, but it’s the most unoriginal piece of crap anyone has ever heard. As Dave Spoon said, “Layering a 128bpm house loop over and over is dry as it comes – it’s like opening your own restaurant and then selling McDonalds food.”

Instead, let them inspire you, guide you and help you be creative so you can help push electronic music forward.