Subscription id: 22499
Course id: 1070958
Course product id: 1125193
Subscription end date: 01/01/1970-12:01:00
Next payment date: 04/04/2023-02:04:50
Highest membership access level: 0
User membership allows access to this course: No
Not logged in, cannot sync.Abstract Performance in Ableton and Max For Live - On demand
Taught by: Ned Rush
Ableton and Cycling 74’s Max For Live offer a vast playground of opportunities to create unique and rich electronic music performances. In this workshop you will create a performance instrument. This workshop aims to provide you with suitable skills to begin exploring improvised performance in Ableton Live and Max For Live.
Level
What you'll learn
- Discuss various forms of performance approaches in Ableton and Max For Live plus their advantages and weaknesses
- Explore one approach that gives most flexibility and ease for performing
- Gather assets in Ableton and Max For Live to use in the performance and how to fit them into our chosen approach
- Develop the approach into a complex performance orientated instrument based in the Ableton and Max For Live Environments
Course content
- Part 1 - Perform with the Ableton Drum Rack
- Part 2 - Create a live slicer in MaxMSP
- Part 3 - Using Max to get data for a performance
- Part 4 - Create a live slicer in MaxMSP - Q&A
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Add to cartRequirements
- A computer and Internet connection
- A good working knowledge of computer systems
- A basic awareness of audio processing
- Good familiarity with Ableton and Max For Live
- Access to a copy of Ableton Live 10 Suite, or Ableton Live 10 with a Max For Live license
- A midi controller is desirable
Who is this course for
- This course is for people interested in exploring improvised performance in Ableton Live and Max For Live.
Useful links
About the workshop leader
Duncan Wilson (aka Ned Rush) is a musician, producer and content creator based in the UK. Whilst perhaps largely known for his Youtube channel, he has also released music independently as well developing content for Isotonik Studios.
