Thursday, October 21, 2021

James Gunn’s Guardians of the Galaxy Vol. 3 Begins Production

Following the recent casting of Will Poulter as fan-favorite Marvel […] The post James Gunn’s Guardians of the Galaxy Vol. 3 Begins Production appeared first on
    Home Tags Midi


    Ableton Live 11: The largest upgrades explained

    Ableton announced Live 11 in mid November and now it's finally here. The latest version of its incredibly popular DAW is out of beta and available to all. The list of new features in Live 11 is long and impressive: Comping; linked track editing; MPE support; expression editing; live tempo following; macro improvements; updated devices and soundpacks; five new devices, including a hybrid reverb and new pitch shifting plugin; chance tools; plus a host of improvements to Max for Live. That's in addition to lots of little interface tweaks and updates to Push support. I've been using the beta since it was announced back in November and while I haven't put every new feature through its paces, I can say unequivocally that Live 11 is a solid upgrade from 10 and well worth your time. Just know that Live 11 is a bit more resource intensive that Live 10. And Live 10 was a lot more resource intensive than Live 9. So if your machine was already struggling after the last big update, you might want to wait until you can upgrade your hardware too. Here's a quick overview of what's new and the standout features (to me). MPE Terrence O'Brien / Engadget Lets start with arguably the marquee feature — MPE support. Ableton Live is one of the last major DAWs to add support for MIDI polyphonic expression. Bitwig has it, Logic has it, even Garage band has it. That means instruments that respond to MPE like Arturia's Pigments and sonicLAB's Fundamental can be that much more expressive when paired with the right controller, like the Sensel Morph. I mention those two in particular because they've been my go-to testbeds for exploring MPE. (They also couldn't be more different from a sonic standpoint.) Ableton was smart enough to update a few of its stock instruments to support MPE too, like Wavetable and Sampler. You can find presets under "MPE Sounds" in the browser if you want to quickly dabble and explore. Ableton also included MPE Control and Expression Control devices, which you'll find under MIDI Effects. These let you decide how exactly you want various MPE functions to be used and map them quickly and easily. MPE Control also lets you take advantage of some of the tools available to you on an MPE controller, even if the instrument you're using doesn't support it. So, for example, you could fire up Ableton's Analog, tick a couple of boxes in MPE Control and slide your fingers around to trigger pitch bends and move the mod wheel. To be clear, you could always do this, but it's just a lot easier to get set up now. This might sound minor, but I think one of the barriers to adoption of MPE controllers is getting them to play nice with non-MPE software. I don't want to spend an hour building custom mapping for every virtual instrument. I want to connect my Morph or Roli and just have it work as expected. This is a big step in that direction. Especially since, in my experience, your settings will need a lot of fine tuning to make the most of MPE and this really simplifies the process. You can still take advantage of many of MPE's features even if you don't have a compatible controller by using Ableton's new expression editing tools. These allow you to dive in and manually tweak pitch bends, modulation and aftertouch on a per-note basis, just like you would any other automation lane. It's intuitive and simple, and might even convince a few more people to embrace MPE once they've gotten a taste of what it has to offer. Comping Ableton The other headlining feature, at least for me, is comping. This simply allows you to record multiple takes of the same section of a song without stopping and then combine the best parts easily. (I can already hear a bunch of purists screaming "that's cheating", but they're wrong.) Now, I'm fully willing to admit my technical skills as a musician are mediocre at best and I can be a bit sloppy, so just being able to record eight takes in a row without stopping is huge. Plus, this is a feature that many other DAWs have had for quite sometime, so Ableton is actually playing a bit of catch up here. And you can get creative with comping to create harsh glitchy juxtapositions or to just pullout the best parts of a jam. Comping works with both audio and MIDI too, so whether you're trying to nail a vocal, a guitar solo or a complicated chord progression with a VST there's something to be taken advantage of. And it's incredibly easy to use. Basically each take is a "clip" (that will make sense to existing Ableton users) and they're grouped as take lanes under the main track in arrangement view. You then simply drag markers back and forth to indicate where you want to switch between your takes. And then, if you want, you can bring those clipped bits over to session view so you can trigger them separately to create new variations and combinations. Linked track editing [embedded content] This is pretty straightforward, but it makes finetuning multi-tracked parts a breeze. You can link a bunch of tracks together and, whatever you do to one, is automatically applied to the others as well. This is great for cutting up and automating double-tracked rhythm guitar parts, or if you've got a melody being played on a piano and a synth at the same time, you just sync them up once, then start editing. This also makes Ableton a lot more flexible if you're using it to edit say a podcast, or working with video and audio simultaneously. Once you've got everything synced up properly, you just link the tracks so that any changes you make don't cause the tracks to become misaligned. And again, this works with MIDI as well as audio. In fact, you can link MIDI and audio tracks and edit them both at once. I'll sometimes use this as a way to pull out new musical ideas from a long jam. I'll record the MIDI and audio simultaneously, then go back and edit them as a linked track. The audio track gives me a preview of what the new part will sound like, and when I want to record the freshly pieced together melody without the harsh cuts, I have the MIDI ready to go. Inspired by Nature Terrence O'Brien / Engadget There's a number of new sounds and devices in Live 11, but few have captured my attention quite like the Inspired by Nature pack. These instruments and effects use physical and natural models to determine sounds, modulation and sequencing. The most straightforward of these is Bouncy Notes which drops a virtual ball when you play a note and as it bounces, that note repeats. But you can draw walls and obstacles inside the "sequencer" (if you can call it that) that deflect the balls, or alter things like the launch angle and speed to create generative patterns. Similarly Vector Delay uses a gravitational model and orbiting spheres to determine the parameters of a multitap delay. Terrence O'Brien / Engadget Then there's Emit, another bouncing ball / moving particle style device, but this one is a granular looper and synthesizer. It has so many controls and modulation options, that it can do everything from glitchy percussion loops, to atonal drones, to pretty plucked melodies, but all with a unique and slightly unpredictable bent. The 10,000-foot view is: you have particle emitters that fire either automatically as your track plays, or when triggered by MIDI. The particles then careen through the spectrogram of your sample. Honestly it's probably deep enough to get its own 1,000 word write up. Just be aware the Emit is quite resource intensive. So, I highly recommend you record your results as audio or at least freeze the track once you're done. Vector FM and Vector Grain function almost exactly like Vector Delay, except they rely on FM and granular synthesis respectively. Then there's Tree Tone which is a strange sort of generative resonator instrument that's built for drones and gentle random melodies. Probability and randomization

    Roland's WM-1 turns your instruments into (MIDI) cord cutters

    Sponsored Links Roland Let’s face it, when you start building out a fleet of synths, cable management can quickly become an issue, with all those wires connecting everything creating an inescapable rat’s nest. Enter Roland with its new WM-1 Wireless MIDI adapter. It’s a combination 2.4GHz and Bluetooth dongle you plug into your MIDI-compatible instrument that allows it to wirelessly communicate with other MIDI hardware (provided that instrument has a wireless connection as well) and your computer or iOS device. No wires needed. Besides note data, the WM-1 can transfer MIDI sync for tempo, effects, LFOs and loops. If you have access to a macOS computer or an iOS device, you can connect to the WM-1 over Bluetooth. With Windows computers, you’ll need to buy the $80 WM-1D USB dongle. You can also use the WM-1D to ensure you get the lowest possible latency when playing your instruments. Using the included Fast mode, Roland claims there is a 3ms delay transferring data between devices. That’s better than the internal speed of many hardware devices, according to the company.  Wireless MIDI adapters aren’t a new concept, but it’s not often you see a large, well-known company like Roland dabble in the category. Before today’s announcement, one of the biggest companies making a wireless adapter was CME with its WIDI Master dongle. At $59, the WIDI Master is more affordable than the $70 Roland WM-1. Of course, both will set you back more than a simple cable, but for some musicians, the extra cost will be worth it. In this article: Roland, midi, WM-1, news, gear All products recommended by Engadget are selected by our editorial team, independent of our parent company. Some of our stories include affiliate links. If you buy something through one of these links, we may earn an affiliate commission. Comments 66 Shares Share Tweet Share

    Roli’s light-up, learn-to-play Lumi keyboard can be acquired for pre-order

    Sponsored Links Roli / James North Pre-orders for Roli’s crowdfunded Lumi keyboard are now open. The small, light-up keyboard pairs with a companion app and is meant to help you learn how to play music, whether you want to dive right into your favorite pop songs (Beyonce) or start with the classics (Beethoven). At first glance, Lumi looks like other small MIDI keyboards. But the keys all light up via internal LEDs. Those sync to a Lumi app, available on iOS and Android. The free app comes with 40 songs, more than 60 lessons and 72 exercises. For $9.99 per month, the premium version of the app offers more than 400 songs, more than 130 lessons and 380 exercises. Roli / James North Since we first demoed Lumi, Roli has made a few improvements. The hardware is now heavier and more durable. The key action performance and sensitivity is improved, and Roli improved the app’s navigation and overall performance. It helps that Roli has a strong track record, which includes the Seaboard Rise and Roli Blocks. You can get the light-up Lumi keyboard — along with a free case, free shipping and a $50 voucher for Lumi Premium — for $299. But you’ll have to act relatively quickly. Stock is limited, so orders will ship on a first-come, first-serve basis. The first shipments will go out in early November. Roli / James North In this article: lumi, keyboard, roli, midi, light-up, learn, music, kickstart, pre-order, available, news, gear All products recommended by Engadget are selected by our editorial team, independent of our parent company. Some of our stories include affiliate links. If you buy something through one of these links, we may earn an affiliate commission. Comments 14 Shares Share Tweet Share

    Must Read

    Get notified on updates    OK No thanks