Mackie Emulation for your MIDI Footboard for Ableton Live
December 27, 2010 2:48 pmHere’s a cool/quick way to map a MIDI Footboard for Live Looping using Mackie Control emulation (basically we are tricking Live into thinking your Footboard is a Mackie Controller, which has lots of MIDI functions).
1) Set your footboard pedals to send these MIDI notes:
96: Up
97: Down
98: Left
99: Right
100: Launch/Record Selected Clip
76: Undo
101: Launch Selected Scene
2) Select "Mackie Control" in Live’s Preferences. You’ll want to make sure the In and Out sections are set to your footboard (in my case here, I have a Behringer FCB1010 Plugged into my RME Fireface 400 Audio/MIDI Interface).
Now you can move up down left right in Session View, and record/loop on whichever track you want. You can assign a button for Record Arm, or leave all tracks armed.
You can do a lot more than that with Control Aid or Selected Track Control for Ableton Live.
Third Favorite Song from I Against I
December 7, 2010 4:39 pmMy Thanksgiving Menu Beats Your Thanksgiving Menu
November 24, 2010 7:54 amWe had the meal last Saturday while my bro Mike was in town. I can’t even tell you the recipe, improv style, but it kicked turkey’s ass.
1) Grilled Beef Tenderloin stuffed with Pancetta, Braised Rabbit Confit, Shallots, Mushrooms (the secret is stuff it via Cook’s Illustrated’s methods, and then spice rub and bake at 200 degrees for an hour till the internal temperature is at 100 degrees, then grill it…)
2) Sourdough bread stuffing with Chestnuts and Venison Sausage
3) Dad’s wild rice stuffing with cashews & turkey sausage
4) Braised collard greens with thick cut bacon
5) shaved fennel salad with orange and rosemary
6) Blueberry pie
Jethroe Dub DJ FX
November 21, 2010 10:29 amRight click and save to download here. Ableton FX rack gives you some dirty dub sounds:
Hi-Pass: Takes some of the high frequencies out
Delay Time: Changes time of the delay. Note that this will act differently depending on the Fade/Repitch setting.
Feedback: how long the delay will continue to echo Delay
Wet/Dry: The mix between the original and delayed signal.
Fade/Repitch: This will switch between repitch: old school dub delay sound, i.e. when you change the delay time the pitch also changes, or fade, where the pitch remains the same.
Mono/Stereo: How wide or narrow the stereo field is
Pioneer Knob: A single knob filter similar to Pioneer mixers, turn to the right for low pass, to the left for high pass.
Gain: Volume
Enjoy. Add your DJ FX requests in the comments field, I’ll be making a bunch more soon. Jethroe
Edit: as my man Dennis Fischer points out, it is a lo-pass, not a high pass – doh!
Variphrasing in Ableton Live
November 18, 2010 4:45 pmThis lesson shows you how to change the relative pitch of a clip in Ableton Live with your MIDI keyboard in realtime, something for which you used to need a lot of
and a
for.
1. Go into Live’s MIDI Preferences (Command-,) and make sure Remote is enabled for your MIDI keyboard of choice.
2. Bring a clip into Session View in Ableton Live and press the MIDI Map Mode Switch.
3. Click on the clip you want to pitch.
4. Press and hold a key on your MIDI keyboard, don’t let go (in this case I pressed C2)
5. Press another key on your MIDI Keyboard (I pressed a C3) and let go.
6. Exit MIDI Map Mode
7. Go down and press the L button to show Live’s Launch box
8. Press Legato (so that the notes you play will affect the clip mid-loop, and not re-trigger the clip)
9. Select ‘None’ from the launch quantization menu, so that your keyboard presses will happen immediately, instead of waiting for the global quantization.
10. Select Complex Pro, as this is the best warp mode for Pitched Warping.
11. Sell your VP-9000 on E-bay
12. If you want to get tricky, you can press a high note first (i.e. C2) and then a low note (C1). Or you can mess with the Transpose of the clip to make the changes relative to some other pitch.
13. Press Global Record to record your experiments for future editing.
14. Or you can just edit the transpose Clip Automation and forget all this madness.
