Ableton Forum

Angstrom wrote:wow, that monodeck and the way it interacts with the clips is a lot better than I thought

A thing of beauty. I love the multi-colored LEDS that match the color of the clips he fires.

If Robert needed more sends, couldn't he just assign some knobs? I guess it has more to do with how he laid out the controls, making dedicated sections for dedicated tasks.

I got a bit bored when he started talking about surround, probably because I 'm not a fan of surround, but I'll likely watch the last 30 minutes soon.

Thanks for this treat Tom!

yeah, thanks cosm for sharing this and thanks to robert for allowing it.
always interesting to see a live set in action.

I want a monodeck!!!

We got the improv version here in Melb. His whole Macbook died the day before his presentation so he had no material. Ended up doing the whole lecture on a borrowed Mac running the demo version of Live

Great presentation!!! A+++ Would watch again!!

thank you Tom and Robert!! 'basically' this is the coolest video EVER!

the first 10 minutes are mandatory viewing, it should be part of signing up for the forum. SCIENCE!! <a la Thomas Dolby>

been trying to think of an easy/trippy way to explain how non-causal sine waves aren't pure. a sine wave is the whole wave, not just a slice, if there's a time when it didn't exist then the signal went to zero and it's no longer a sine wave. it can never end, it had no beginning, nothing caused it (hence the term 'non-causal'). this is impossible to model in math let alone be realistic to begin with, it's just a thought experiment. dunno, this is where math gets all metaphysical and everyone just ends up getting stoned.


55:00 who the @#$%^ was that guy interrupting Robert while he was about to go on about the C74 collaboration!! man, if I was there he'd get an Adidas to the back of his head, stfu already!


OK, so with C74 it's either OSC in Live or it's gonna be some other proprietary Live/C74 protocol (via python). I can imagine it would be implemented in the preferences or on a track by track basis (like the monitor setting) and one for global controls. my guess. very cool to see Robert excited about C74. gimme gimme gimme!!!!



lots of interesting accents in the room.

so does Bob have the best job in the world or what?

one thing I don't understand is -

Robert says something about "I have these 3 dials here which control the sound for each track", this is when talking about the kick drum. Then he takes a small detour into the delay send. At this point he uses monodeck to control many parameters on at least 8 effects in the delay return channel. He adjusts the EQ8, he changes the ping-pong delay sync and speed, he adjusts a flanger, etc. etc.

this is where I am puzzled. How are 3 dials (presumably the return channel also has 3 'sound' dials) , how do those 3 dials control what seems to be 16 or more different parameters?
I suspected some sort of bank switching, but none is mentioned (in relation to sound dials) and it would be too easy to get lost.

so how is he controlling all those parameters?

22:20 he shows bank switching.

that's bank switching on the clips, but not on the dials
the bank switch at 22:20 flips his 5x8 clip matrix buttons onto the next song, and the next.
" I can switch through the fist five songs here, and then I have a bank swich and I have the second five songs"


I am asking about the sound dials which are located at the top of the monodeck channels. He says there are 3 for each audio channel

see the point at 31:50, that is the bit I mean

yeah, just saying that he does bank switching in one spot, so he probably did it in another spot, it's 'his style.' the monodeck is even cooler than I thought, which button orders a pizza?

Angstrom wrote:that's bank switching on the clips, but not on the dials

the banks switch flips his 5x8 clip matrix onto the next song, and the next

he has chain automation in the clips to select different chains

Ok,
at 33: 40 he seems to be controlling each visible effect in one track and being able to control each of the effects. it isn't chain-switching because the effects are all in series and he controls the parameter of those in-series effects:

Utility: EQ8 : ping-pong delay : utility : reverb : flanger : somthing else

it may be that he uses MAX to route midi CCs to each effect based on a bank switch. There is certainly soem clicking going on ... indicating a button press to switch control bank. But how to 'zero' all the effects when bank controlling many parameters of 8 + effects in a rack "blindly" via bank switching

to my mind the major limitation we face is the one he outlines at the beginning of the video - directly controlling our sounds. So this ability to reach deep into the rack is crucial for me and have never been able to manage it . Lets face it the blue hand is no real use here. And Robert certainly doesn't seem to use it.

I guess that's why he built his own controller

thing is a few changes could make the blue hand much more useful - like making device title bars midi/key assignable and allowing the blue hand on things like send banks

the way I currently use the blue hand is by using the 'record' buttons to focus the track I want.

By using 'arm' I can focus a rack and thereby focus the blue hand and give my 8 macros access to that track. It actually works quite well.

I press a track select button and can then turn macro dials on the selected track. it's not perfect though.

sexy

Angstrom wrote:the way I currently use the blue hand is by using the 'record' buttons to focus the track I want.

By using 'arm' I can focus a rack and thereby focus the blue hand and give my 8 macros access to that track. It actually works quite well.

I press a track select button and can then turn macro dials on the selected track. it's not perfect though.

does arming behave differently than just selecting the track header? I have mapped the track header and it still means selecting which rack I want on that track