Some of the workshops I’ve been doing lately have been focused on the unique workflows of Teenage Engineering’s awesome portable devices, the OP-1, OP-Z and Pocket Operator series.
I’ve been a huge fan of Teenage Engineering products for a long time since I first bought my OP-1 seven or so years ago.
So, I’m really excited to now be featured on the Teenage Engineering website as one of their mentors of #ems.
Expect some more Ableton Live x Teenage Engineering things from me soon, including the next Process Lab – Mobile Music Making event on November 15.
I am always keen to share my knowledge and passion for creative workflows and music making, so I was super stoked to be able to put on an event the amazing Bargoonga Nganjin community space to run a workshop focusing on Teenage Engineering x Ableton Live workflows called Electronic Music Processes.
This event was supported by Teenage Engineering’s #EMS program and had some serious giveaway courtesy of Ableton and Innovative Music.
It was great to be able to talk in about the workflows of Teenage Engineering’s Pocket Operators, OP-Z and OP-1, and how you can integrate them into Ableton Live.
Photos via @callummis
Throughout May and June, I ran a series of free Audio Manipulation Workshops at some of the City of Yarra Libraries.
The focus was on techniques that you can use within Ableton Live to work with and manipulate audio.
Well, to round off a pretty crazy year, I recently became an Ableton Certified Trainer. I’ve been using Live since 2004, and this has been a pretty big milestone for me to achieve as a music and music tech educator. There are just shy of 300 Ableton Certified Trainers in the world, and it’s an exciting international community to be a part of.
I recently came across a Roland D-20 Synth that was in pretty bad shape. It worked for a few hours, but then was giving constant “Main Board Errors”
But this was the beautiful part! Every time the synth was turned off and on, it started to play the most amazing glitches out industrial type synth tones.
These instruments are made from half an hour of recordings of me turning the synth off and on again to get weird and wonderful tones.
Download 9 Instrument racks here. All will work with Live 9.5 standard and above.
If you use them, or find the racks inspiring to make your own instruments, consider donating a dollar.
If you’ve downloaded my “Vocoder for Push” racks, then you should understand the concept behind these racks… basically they’re performance orientated racked instruments that hack the external instrument and external effect devices to be able to pre-map the audio routings. By default audio input 1 is used as the mic source, but you can change this if you want.
In this Live set there are two instrument racks, one for Errorsmith’s “Razor”, and the other for Tim Exile’s “The Mouth”. Both devices require a license and the Reaktor 5 Player available via nativeinstruments.com.
This is my (nearly) 3 year old daughter singing through The Mouth – “Autoharmonious” Rack.
Download the LivePack file that has these Instrument/FX racks HERE.
If you like these Ableton racks, please consider donating a dollar!
Over the last few months, I’ve been composing and creating sound for a really beautiful meditative puzzle game for iOS called Breath of Light.
Made by Melbourne game development company Many Monkeys, Breath of Light is the sort of puzzle game that takes time to master, there is no rushing the process, It’s a slow paced game that required immersive, meditative music.
The interface is a bit like a Zen Garden, where the player must arrange and move objects within the space to allow the flow of energy from one lotus flower to another. The game is set over 4 seasons, Summer, Autumn, Winter and Spring, each progressively more challenging as the levels evolve.
Each season has it’s own musical underscore created from a bank of loops that are designed to both work in any combination, but also evolve and develop over time with the gameplay.
It was decided very early on that User Interface (U.I.) sounds should add to the musical score. The way we made this work was to have a series of randomised tones associated with every object and movement within the game. All these sounds were composed in a way that to match the tonality of each season’s underscore, which allows every gesture within the game-play to contribute to an interactive soundtrack.
During the development of the soundtrack, I used Ableton Live to create a performable set to play these sounds to both demo these musical ideas to the guys at Many Monkeys and to test how the U.I. sounds blended with each other. I did this by creating drum racks that housed the U.I sounds and used scenes to work out the different combinations of underscore loops for each level in the game.
Once the nuts and bolts of the game sound was finalised, I set about developing a performable live set to recorded each ‘season’ as a musical composition in it’s own right. This was done with a little extra help from the wonderful Max for Live Dub Machines audio FX ‘Magnetic‘ and ‘Diffuse‘ which added extra flow and movement.
Below are the recorded seasons of the Breath of Light soundtrack, available for free download via Bandcamp.