Free PerforModule “AutoGain” effect rack (for Ableton Live 9 + Max4Live)

 PerforModule – “AutoGain”

AutoGain Image

 

 

 

 

 

 

 

This is an audio effect rack which can be inserted anywhere to “auto-ride” the volume level. It can be used to provide automatic attenuation of too-loud signals and/or boosting of too-quiet signals by up to 6 decibels in either direction. The unique “Intensity” and “Target” setup allow for intuitive usage with auto-adjusting attack and release responses.

How it works:
“Flux Intensity” at zero (minimum) will bypass the effect. Once it is turned to 1 or more, the effect will begin. The higher the “Flux Intensity” control is set, the more the volume will fluctuate, trying to maintain the target level. Whether the volume fluctuates upward, downward, or both depends on the target setting and on the source material’s dynamic level.
With “Target Volume at minimum (zero), the gain-riding will ONLY be downwards. The setting of zero is good if you are sure you don’t want to boost the source, but only to attenuate it. As you move the target up, the gain will edge up into higher averages, while still trying to attenuate the louder parts. Near the middle it is likely to both boost and cut audio, trying to balance it. At maximum, it will strive for +6db.
When levels are within the “Goldilocks Zone”, nothing happens! Only when straying too loud or too quiet from the “Target” will they be smoothly curtailed or boosted.
Watch the green Auto-Gain knob move around to see what is happening to the gain in real-time!

Click the image above or this text to download “AutoGain” by PerforModule for free!
[requires Ableton Live 9, "Max For Live Essentials" & "Max For Live Building Tools"]

Questions & Answers:
Q: Why would i use “AutoGain” instead of a compressor?
A: This just changes the volume level, and not the character of the sound. The attack and release response are both automatic, smoothly shifting in real-time according to the signal it is fed… which leads to a complex, “program-dependent” response curve. You could think of it as additive rather than multiplicative. I guess you could say it’s like a weird sort of semi-feedback optical compressor. 

Q: How does “AutoGain” affect transients / dynamics?
A: The effect on transients varies depending on the source and settings. AutoGain reacts more quickly to more punchy inputs, and more smoothly to more smooth inputs. Set “Flux Intensity” and “Target” carefully to find the desired dynamic response you are looking for. 

Q: Isn’t this a “cheater” effect? I don’t like cheater effects; they kill the soul of music.
A: Well, if you use this poorly, it will sound bad. So no, it’s not a “cheater” effect. ;)

Q: What do the blank macro controls do?
A: Nothing!

Don’t click here! Nothing will happen if you do!

Ideas for Usage:
Pre-Compression: on very dynamic material, use “AutoGain” just before a compressor, set moderately. Gently smooth out the dynamics a bit before they hit the compressor and allow the compressor settings to apply more uniformly. This can lead to a cleaner overall sound (as you don’t have to push the compressor so hard). This workflow works well on slower instruments. 

Post-Compression:  the inversion of what was just described, more suited for faster instruments: place AutoGain immediately after a compressor (disable the compressor’s own auto-makeup gain if it has it). The compression tames the transient peaks, then the AutoGain gently sculpts the overall level.

Volume Riding: use this like certain famous vst plugins to automatically help your bassist, vocalist, or any instrumentalist’s volume level stay consistent. You could use it for tracking (recording in the studio), live performance, or to process already-recorded parts. If you’re an ambitious member of a band and have the ability to route all the players thru your ableton rig, you could throw one of these on each instrument so they are all massaged in real-time.

Boosting Quiet Stems: sometimes when producing you’ll be working with very quiet recordings. This can be an easy way to make them sit in your mix clearer.

Attenuating Loud Stems: a common problem with a lot of mixes (especially with the prevalence of loop libraries which are already maxed out to 0db) is that the individual tracks are mixed too loudly, and then when summed the end result is not as clean as it could be.. This can be a quick way to curtail too-loud parts.

Previewing Clips: when previewing a bunch of audio clips sometimes it can be jarring when the volume differences between them are great. This can help keep everything in perspective when listening to a bunch of different clips (just drop them all onto the same track w/ AutoGain).

 

Click the image above or this text to download “AutoGain” by PerforModule for free!

[please note, in order to use, you must own Ableton Live 9 + Max For Live, and have the "Max For Live Essentials" and "Max For Live Building Tools" packs installed]

 

If you like “AutoGain” by PerforModule, be sure to also check out the Alien Intuition set of devices:

http://performodule.wordpress.com/2014/04/06/alien-intuition-set-of-artificially-intelligent-fx/

The free “Super Fader Rider” you can acquire is similar to “AutoGain”, except it controls the volume mixer control itself (attenuation only), and has a fine-tuneable response.
The other groovy devices in the “Alien Intuition” set apply effects with automatically-responding parameters as well, for a range of specific purposes.

 

“Planetary Convolution” – a new set of impulse-based reverbs for use with any DAW.

Now unveiling “Planetary Convolution” – a pack of Reverb Impulse Responses, each based on a planet (including dwarf planets!) in our Solar System.

planetaryConvolution

They were created using different custom settings of Ableton’s built-in Reverb Algorithm, re-sculpted into Impulse Responses, and then further enhanced.

Each is presented as a “Convolution Reverb Pro” preset for Ableton Live 9 (+MaxForLive) with individual IRs, tone control parameters and a special 1-knob extra effect each.

Using Ableton Live, the presets will open with their corresponding impulse files automatically.
Non-Ableton users can use the IRs too… just open them with your favorite Convolution plugin (though you won’t have access to to the custom EQ shaping parameters and bonus FX, sorry).

 

“Planetary Convolution” : $1.11 via paypal / credit card.  <<<<—- Click Here.

(If you’d like to snag some original Convolution Reverbs by PerforModule for FREE… then click hereGT-8 Convolution.)

Now for an overview of the Impulse Responses that come with “Planetary Convolution”.

Mercury Reverb_
Has a sizzling, bright tone, like you’re getting fried by the sun.
Xtra FX: “Liquid” – adds a creamy movement; molten.

Venus Reverb_
Sandy-sounding with a smooth high end.
Xtra FX: “Scorch” – adds a subtle fuzz which is affected by the tone control. Also has an enhanced “Thick Chorus” control.

Earth Reverb_
Our good ol’ home planet, you know? This has a medium room sound, good for hip hop drums. The overall tone is (you guessed it) earthy.
Xtra FX: “Gravel” – this adds a nice gritty, chalky color to the reverb.

Mars Reverb_
This reverb has a punchy, forthright quality. It is well-suited for march-style drum patterns, brass, or other high-energy instruments.
Xtra FX: “Anger” – dials in some burning bite to the sound.

Jupiter Reverb_
This reverb has a ridiculously long and smooth tail (25.6 seconds to be precise). Use this for extreme spaciousness and super fade-outs.
Xtra FX: “Storm Swirl” – adds movement to the sound as you get carried along the current.

Saturn Reverb_
Very large and with a resonant, ringy quality.
Xtra FX: “Rings Twirl” – take a trip along the concentric circles.

Uranus Reverb_
Has a billowy texture, as if enveloped in thick fog.
Xtra FX: “Vapor” – adds a smokey layer of reverbish decay.

Neptune Reverb_
Has an icy, chilly spaciousness.
Xtra FX: “Frost” – dial in some crystalline crunch.

Pluto Reverb_
Very small, very cold. Just listening to it will drop your body temperature by a few degrees.
Xtra FX: “Interior” – fade into the interior cavity of the sphere. It must be hollow?

Eris Reverb_
A lesser-known dwarf planet, Eris is known as the Goddess of Chaos, having a bizarre orbit.
It has a short, foreboding sound, like the feeling of someone watching over your shoulder.
Xtra FX: “Dirt” – adds a muted, broken darkness.

~`~

By Style_
Booth Type (very small)
-Pluto
-Eris

Room Type (small)
-Mercury
-Venus
-Earth
-Mars

Hall Type (large)
-Uranus
-Neptune
-Saturn

Epic Type (vast)
-Jupiter

`~`

Mars Reverb Image

Ableton Racks Macro Controls_
Dry/Wet: Convolution Reverbs tend to be quite lush, and often are audible at even 1% wet. These start at 23% as a default starting position — make sure to adjust this carefully to not over-use reverb.
Tone: Starts in the middle by default. Each planetary reverb has its own unique band interactive filtration which will occur upon moving the “Tone” control up or down. If you have the EQ pane open, you can see a visualizer of the audio input spectrum and the EQ curves. After adjusting with the “Tone” dial, you can grab any of the 3 individual EQ nodes and adjust them by hand to fine-tune (they are not “locked” to the control). However once you move the tone knob again, that planet’s custom filter curve will take over again.
Distance: This is starts at the default (normal) setting. Turning it down will make the reverb closer to the source; turning it up will move the reverb away. If you increase the distance, the predelay effectively increases, so you may want to decrease it to compensate if doing so.
______ (Special Effect): This Macro is named differently for each planet, and has a different sonic effect on each.
Predelay: The time before the reverb first begins. Can be useful for preserving your original transients and adding a rhythmic feel, but too much predelay can have an unpleasant effect.
Chorus: Adds a subtle creamy stereo movement. The planet Venus has a more extreme “Thick Chorus”.
Stereo Width: Lower settings place the reverb at the middle of the stereo field; greater setting lead to more spread up til the maximum possible.
You Can Also: Using controls on the Convolution Pro device (which aren’t mappable to the audio effect rack), one is able to lengthen or shorten the decay, shorten or lengthen the size, combine 2 different planet IRs attack and decay sections, alter the shape of the early reflections and length, cause “cascade” overlapping of decay curve, implement reverb fade-in or fade-out,  adjust the Damping Curve (basically the EQ for the decay), or even flip the reverb into a reverse reverb. The Convolution Pro device is truly awesome.

Grab PLANETARY CONVOLUTION for ONE DOLLAR and ELEVEN CENTS via paypal or credit card by clicking >>>>>>>>>>HERE<<<<<<<<<<<

Includes:
-“Planetary Convolution” self-installing Ableton Live Pack. Simply drag the .alp file into Live to install it, and the presets will show up in the “Room” and “Hall” folders under “Places”. BAM. That easy.

-“Planetary Convolution” set of .aif Stereo Impulse Responses (L + R files). These are for anyone who doesn’t have Live.

Provided as a single zip file to download. Once unzipped:
If using Ableton Live: use “Planetary Convolution by PerforModule.alp”
If using another DAW: use “Planetary Impulse Responses” zip file. Unzip it and find the aif IR files inside for usage in your Convolution plugin of choice.

Audio Demo_

~`~

ps. On the topic of celestial bodies, check out the “moon reverb” ableton preset which comes with “PerforModule – Dephaultz”.

L/R + M/S Panning Control Rack For Ableton Live. Free.

Now revealing the “LRMS Splytter“.

First, a brief and haphazard overview of the difference between L/R and M/S processing.
crude panning diagram

As shown in the hastily-drawn diagram above, L/R separates the audio into two equal halves. This is how stereo speaker systems send and receive audio, and seems intuitive enough considering humans are programmed with a stereo set of ears.

M/S processing is when things get weird. With L/R processing, there is always an L and always an R. There may not always be something playing there, but the space exists. Things are not so distinct with M/S… sometimes there may only be center or sides, and there is no arbitrary cutoff location between them! So how do you know if/when center or sides content will exist?
The Center is defined as the audio material that is exactly the same in the Left Channel as in the Right Channel. This creates a “Phantom Third Channel” (back in the day some vinyl records used to hilariously advertize this phantom channel). If the entire audio file’s audio wave is exactly the same on the left and on the right, there will ONLY be a center channel, and no sides will exist (in the diagram above, imagine the “Center” section inflated so wide the sides are squished all the way to the edges and gone). In such a case, the result is identical to a mono sound file.
Likewise, if the Left Channel’s material is completely, absolutely different than the Right Channel, there will be NO Center Channel (in the diagram above, imagine the “Center” section squeezed inward so narrow it disappears and the Edges mimic the upper “L/R” portion). In this case, the “Left and Right Halves” content would be exactly the same as the “Left and Right Edges”.
When you have an audio file which contains BOTH some difference between the left and right, AND some similarity between the left and right (drum recordings tend to be a great example of this), M/S processing can be very useful.

So what does the LRMS Splytter do then?
LRMS Splytter

With this one rack, you can:
-fade between the L/R and M/S processes with no phase or gain alteration.
-use L/R processing and M/S processing simultaneously in parallel to an adjustable percentage.
-apply different effects to the Left Side, Right Side, Center, Left Edge, and/or Right Edge.
– solo and preview the difference between the Left or Right Half and the Left or Right Edge of any audio material and really hear the difference between what is going on with the L+R vs the M+S.
-alter panning of each of the 5 chains individually (use this for subtle stereo enhancement and surreal perceptual effects).
-alter the gain of each of the 5 chains individually (-infinity to +6db).
-invert the Mid and Sides content with each other, completely or by percentage.

A few wacky ideas of things you could do:
-add a ring modulator enhancing the bass with a vowel-type sound the the center, then use M/S inversion to make it breathe into the sides.
-add a sidechain compressor on each edge linked to its respective half and key-filtered to be triggered by certain frequencies (i.e. on Left Edge > sidechained to Left Half) for a stereo-enhancement that pulses reactively.
-add dub delay on the left and right halves, but only bring in l/r processing when you want the delay to come in.
-add almost-obscene, thick distortion and compression to the center and edges individually, keep the left and right halves clean, start with “l/r or m/s ?” set to zero (0) and then gently apply a tasty amount of m/s process for parallel chunkiness.

Remember if you forget (haha) what the controls do, like with all PerforModule FX, tooltips are enabled: just hover your mouse over any control and info will appear in Live’s Info Box.

The possibilities are truly endless!
If you come up with an awesome way you’ve used this to process something, please tell us about it in a comment.

CLICK HERE (or on one of the images above) to snag the free “LRMS Splytter” for yourself.
{requires Ableton Live 9 to use!}

~`~

so many amazing things

1. i published a new free album on bandcamp comprised of odds and ends gathering dust “in the box” for the past couple of years. It’s not a serious project… just for fun_
Check it out / download for free here: http://animusinvidious.bandcamp.com/album/adds-ins

2. Apparently i’ve been selected as a nominee for “Best DJ” in the Colorado Springs Indy Music Awards once more… what an amazing honor!
Check that out here, if you are so inclined: http://posting.csindy.com/coloradosprings/Survey?survey=2880310

3: upcoming performodule packs to be released in very special locations. Stay tuned!

4: i’ve been digitizing my vinyl record collection in ultra-high-quality. It’s very fun.

5: Gratitude for recent linkings to my recently-crafted “Multiband Reverb” Ableton Live effect rack. Thanks Bedroom Producers Blog, Isotonik Studios, ProducerSpot, Rekkerd.org & various other sites posting links to those links on those sites. It’s like a reverberation of cascading links. Or something.

6: Just for fun, here’s a link to one of the very first free PerforModule sets: “Degratortion” – one-knob distortion/degradation effects.

http://performodule.wordpress.com/2013/03/29/performodule-uno-degratortion-series-free-ableton-live-9-single-knob-distortiondegradation-effects/

Peace!
~animus invidious

 

new free Multiband Reverb effect rack for Ableton Live 9

“PerforModule: MultiBand Reverb”

MultiBand Reverb Image

A reverb effect rack sending different calibrated reverb algorithms to the lows, mids, and highs. The lengths, widths, and shapes of each reverb chain are scaled compared to each other leading to very complex, smooth and lush sound which can be used from very short ambience “small box” reverbs to extremely long-tailed hall reverbs, and everything in between. The tone can be altered carefully with just a few macro controls to sculpt the sound with great versatility and ease.

Add in Low, Mid, or High reverberation, change the room size and tightness, and alter the tone with the cutoff and diffusion knobs.

Each chain of the reverb is suited for the frequencies of material sent through it.
The “Low” chain additionally saturates its output. Tip: Try using it on a kick drum or drum buss with a higher “Tightness” setting and turn up “Low Reverb” then play with the room size to add a natural boom to kick drums. 

Click the image above or these words to grab “Multiband Reverb” for free!

Check out an audio demonstration of various settings of the “Multiband Reverb” applied to drum + percussion loops_

~`~

ps check http://performodule.wordpress.com/2013/05/24/how-to-organize-user-plugin-presets-like-a-boss-in-ableton-9-using-the-hidden-architecture/ for how to save this in your Live 9 library so that it shows up in the “Places” section of the browser. Super nifty.

“DynaMixing Two” sale pack now out!

Here is “DynaMixing Two“, a successor to the “DynaMixing” series of PerforModule Ableton Live effects racks. These are designed for both more polished and more extreme in-studio production.
The devices in this set are designed to be applied to a wide range of uses, and to assist with speeding up workflow by providing useful tools for getting your mix from bland to awesome. The focus is on top quality logical application for mixing, but a few of the tools (for example the Ebenezer Compressor and Retrofier) are more suited for intuitive creative experimentation. These racks are also designed with cpu in mind, keeping its usage modest without compromising fidelity.

DynaMixing Two ~ $7.77
(sorry — the sale is over… it’s still quite a bargain for what you get, though!)
22 Effect Racks.

-> Purchase the “DynaMixing Two” set of 22 Effect Racks for $7.77 now <-

DynaMixing Two

[REQUIRES ABLETON LIVE 9 SUITE ]
TO PURCHASE: Click the image^
Put in payment info (paypal, visa, mastercard, american express, or discover) & click “Return to [your email here]“. You will then be teleported to your “DynaMixing Two” download link.  A download link will also be emailed to you within a day in case you miss the link or cannot access it through a smartphone browser or whatnot. 
TO INSTALL: Just double-click the .alp file you download, and everything will install automatically. Super easy!

What comes with “DynaMixing Two” – 22 Unique Effect Racks
Anti-Compressor (Single)
Anti-Compressor (3-band)
Ebenezer Compressor
Serial Compression
Stereo Glue (L-R)
Stereo Glue (M-S)

Adjective EQ (LoBands)
Adjective EQ (HiBands)
Lo_Hi Filter (Simple)
Lo_Hi Filter (Breathing)
Lo_Hi Filter (L-R DNA)
Lo_Hi Filter (M-S DNA)
ResoCut Filter
Nose Cleaner
Pillow
De-Comp Esser
Super Vocal Tracking
Lo-Hi Splytter
Retrofier
UnPhaze
Channel Stripper (Dropped)
Channel Stripper (Template)

& now for a rundown of  the goodies… (+ audio previews below)

Continue reading

New free GT-8 Impulse Responses by PerforModule at Bedroom Producers Blog

I got inspired one day and sampled a convolution for each effect i could procure out of my Boss GT-8 Guitar Multi-FX pedal. I sent them off to Bedroom Producers Blog, where they are now available for FREE download.
I also made a default “Convolution Reverb Pro” preset Ableton device for each IR and made them into a pack.
I sampled them at 96k 32 bit for no compromise of quality.
If you have Ableton Live 9 + MaxForLive, you can install the effects simply by dragging the .alp file into ableton and clicking “yes”.
If you do not own Ableton Live, do not fear! You can still use these convolutions with your preferred Convolution plugin.
Click the “Boss GT-8 Impulse Responses” image to teleport to Bedroom Producers Blog and grab them!

 

~`~

Oh and, if you didn’t catch it already, be sure to grab the PerforModule “Pitchbend Vibrato” midi rack over at subaqueousmusic.com! Click the image below to go there.

Huge thanks to Bedroom Producers Blog and Subaqueous Music both for hosting my crafts and spreading the love. The worldwide creative community is so inspiring!
And a huge thanks to you, reading this. I never imagined this blog would become what it has, and every single visitor here is partially responsible and you have my personal gratitude.

much love
~animus

free “ResoFollower” template instrument rack

If you ever wanted Ableton’s “Resonators” effect to automatically follow a midi note sequence (the way “Corpus” can), this is your ticket! (Requires Ableton Live + MaxForLive)

ResoFollower
PerforModule – ResoFollower_
This is an empty instrument template rack with the “Resonators ” effect set to follow the midi note sent to it.
You can set it so that the latest note it reads immediately sets the resonator’s pitch to the same note (between the range of Cminus1 to C5), or you you can use the “Smooth” macro control to delay the pitch-following so that switching notes will cause a cool-sounding legato “slide” effect.

Simply drop the rack into a midi track and then drop an instrument into it and you’re good to go!

NOTE: This rack utilizes the “Max Api CtrlMIDInote” MaxForLive device which comes with Ableton Live 9 Suite. If you have not yet installed “M4L Building Tools”, please grab it from
http://www.ableton.com/en/packs/max-live-building-tools/ to install first. 

 

Click the image above to download the “ResoFollower”!

New “Adjective EQ” racks for tone shaping by ear

Want some nifty new tools for EQing by ear according to desired tone qualities? These racks use the logic of science to enable the emotion of feeling.

There are 2 new “Adjective EQ” racks for Ableton Live 9, each split into 3 adjustable bands; one focused on the lower half of the human hearing range, the other focused on the upper half of the human hearing range. The band cutoff points are calibrated mathematically according to 1.5 octave intervals adjusted by even temperament. This results in six distinct calibrated “tone zones” which are segmented according to the way the human brain palpably perceives soundwaves, which have been named “Boom” “Thud” “Junk” “Bite” “Crisp” and “Shimmer”.

Adjective EQ (LoBands)

Adjective EQ (HiBands)

 

Macro Controls (both devices):
_[Adjective] Amounts: these knobs will either boost or cut the target frequencies.

_[Adjective] Spots: these knobs will set the frequency centers of the bands. The upper limit of one band is equal to the lower limit of the next.

_Auto-Dynamics: this incurs an automatic reduction in the overall EQ intensity in response to the input volume. In other words, the EQ becomes less extreme (both boosts and cuts) as the input volume increases, in realtime. This can serve two purposes: one, to prevent loud transients which are boosted from becoming too distorted; and secondly, to allow other frequencies to “punch through” (for example, when boosting the highs moderately, a loud kick drum would cause the EQ on the highs to soften during those kicks, giving them more relative “punch” at those moments).
NOTE 1: This parameter only works if you have MaxForLive as it uses the “Envelope Follower” device! If you do not own MaxForLive, please open up the device, remove the empty max patch, and then re-save it into your library so it does’t keep asking you for missing file. If you have MaxForLive but don’t have the “Envelope Follower” device, get it here:  www.ableton.com/en/packs/max-live-essentials/
NOTE 2: Unlike the dynamics controls from the PerforModule “AI EQ” devices, these do not dynamically alter the tone contour – just the overall amount of equalization incurred.

_Slopes: Default is center (63.5).  [Hit "delete" on the computer keyboard while this control is selected to return to default.]
Turning this up will narrow the resonance of the outer bands while widening the resonance of the center band (“devil horns” shape).
Turning this down will widen the resonance of the outer bands while narrowing the resonance of the center band (“nipple” shape).
The slopes control is designed this way, having the two outer bands shift opposite to the manner of the middle band, to allow easy color flexibility while also self-balancing the overall output.

“Adjective EQ (LoBands)” Bands:
_Boom ~ Subs. This is where that rumble in your bum comes from.
_Thud ~ The low bass. Thud rhymes with mud and this is often where that be.
_Junk ~ Chunkiness. Can affect the sensation of weight or solidity.

“Adjective EQ (HiBands)” Bands:
_Bite ~ AKA “attack,” “smack” or “thwack”,  this range slashes like a blade.
_Crisp ~ The zone of the sky. Can add or remove clarity or harshness.
_Shimmer ~ The top end, going up into the stratosphere and the heavens.

The racks are saved by default closed (so you cannot see the EQ visualizer). This is to encourage EQing “by ear” first to achieve the desired tone quality by its “character”; if you’d like to then see the spectrum analyzer for more precise fine-tuning, you can unfold the rack and look.

Adjective EQs usage tips:
Depending on the material you need to EQ, you may use either of the Adjective EQ racks, or use both of them together  in sequence on a track to cover the entire range.
For example, if you simply want to enhance the brilliance of the highs on a part, you could just use the “Adjective EQ (HiBands) rack. If you then decided you also wanted to attenuate the muddiness some, you could add the “Adjective EQ (LoBands) rack.

General use: Try each band one at a time, first boosting it, then sweeping its “spot” around while listening carefully, and then returning it to default (shortcut: “delete” key when parameter is selected). Then you will have an idea for the character of each band on the material playing, which you may want to boost or cut, and which “spots” are the sweet ones.

A good way to use these EQ’s for targeted resonance reduction (to kill ugly tones in a recording, for instance) is by lowering the “slope” control and the middle band’s db greatly (either “thud” or “junk”). Then sweep the band to pinpoint the frequency that needs to be tamed, and use the other two bands to gently enhance what’s best of what’s left.

You can always enable an extra band on one of these EQs if you need a bit more fine-sculpting. One could use an Adjective EQ as the basic first tone shaping by ear, then open it up, look at the spectrum and enable more bands for low-cut, high-cut, noise notching, or precisely sculpting the already-present curves.

AND NOW FOR THE RACKS!

These are not going to be called “free” because you actually have to do something for them! ~ go and “like” the Animus Invidious (music) facebook page. Mostly there stuff is posted about digital audio production and the like. Remember to click “get notifications” and/or “add to interest lists” there when you connect if you’re interested. Also feel free to post a link to your music or Ableton Live-related stuff on the wall there and we’ll be sure to check it out!

Link->
http://www.facebook.com/animusinvidious?sk=app_220150904689418&app_data

Free TouchOSC Template for free “PitchBend Vibrato” midi effect

PitchBend Vibrato Image
The new free PerforModule “PitchBend Vibrato” midi effect rack for Ableton Live 9 + Max for Live has been released over at http://www.subaqueousmusic.com/production-articles.
Read the description of it and grab it from there. Many thanks to Subaqueous  for posting it! Check out the rest of the site for a ridiculous ton of useful nifty production and performance tools.


Supplementally, for those of you who own TouchOSC which costs all of 5 bucks (not sure if this will work on iOS as it has only been tested on android http://hexler.net/software/touchosc-android), here is a free TouchOSC layout which adds an X-Y pad to control the vibrato amount and rate plus a pitch bend fader and momentary buttons to easily midi map  / reset the 3 parameters.

(The button next to the pitch bend fader resets the pitch to +0; the ‘vibrato’ button resets the vibrato amount to “0”.) These are useful during live performance to be able to ‘snap back’ after a bend or after adding vibrato.
If you program your own TouchOSC Layouts, you’ll most likely want to copy the contents of this and add it as a new page to your current layout, and possibly change which midi notes it’s sending depending on your setup.

Click / touch the image to D/L “PitchBend Vibrato TouchOSC Layout”.

PitchBend Vibrato TouchOSC Template

bonus shoutouts to http://soundcloud.com/lilTrybe for the gracious usage of his “PitchBendAutomation” maxforlive patch. Thanks for making that awesome device lilTrybe!

p.s. In other news, the new Charlie Milo Trio album “The Very Best Reason to Reason” mixed and mastered by the brain behind performodule, Animus Invidious, has been receiving major radio airplay on various stations. Woohoo!
Prehear / purchase the album from itunes here: http://itunes.apple.com/us/album/the-very-best-reason-to-reason/id824263697