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Taylor

Taylor
July 3, 2014

Novation Launchpad S & Novation Launch Control Review

Before Ableton Push and Livid’s line of controllers, the APC 40 and the Launchpad were the go to controller solutions for performers using Ableton Live on the stage. They are arguably still the best controllers for the job when you consider how Push is built best for crafting and arranging your productions before hitting the stage. At NAMM 2014 Novation brought us two new solutions for performers using Ableton Live with the Launchpad S and the Launch Control. These devices work great for controlling Ableton Live but they are also able to connect to your iPad with the Apple Camera Connection Kit which will also power the Novation controller.

These are all redundant talking points if you have been watching these Novation controllers from afar, so it should be noted that there is some pretty fantastic integration between the controller and Ableton Live. Let’s take a look at how …

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Taylor

Taylor
January 3, 2014

Our 10 Picks for Best Music Tech of 2013

There were a lot of great new musical instruments, audio software developments, and music technology that came out this year. As NAMM 2014 approaches, we wanted to take a retrospective look at some of our favorite releases from the past year. While this is not an exhaustive list, and there were certainly some things that got left off, we encourage you to post your amendments in the comments below so we can all revel in all of the great releases of 2013. As we gear up to cover all the secret new products from NAMM 2014, here are our top 10 picks of 2013 in no particular order.

Ableton Push & Ableton Live 9

Arguably one of the top releases this year was the Ableton Push controller as well as the update to Ableton Live 9. The Push controller was one of the most talked about pieces at Winter …

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Taylor

Taylor
September 24, 2013

Behringer CMD LC-1 Overview with Andrew Luck

The Behringer modular MIDI controller in the CMD line that can be described as an Ableton Live workhorse has got to be the CMD LC-1. Before the CMD LC-1 there were only a couple of controllers that could integrate this well with Ableton’s session view for launching clips. These included controllers like the Akai APC 40 and we are beginning to see more Ableton integrated controllers such as the proprietary controller Ableton Push. Now with the Behringer CMD LC-1, there is an affordable, modular solution for performers to control their Ableton Live sets.

Andrew Luck does a great job of going over the way Ableton integrates with the CMD LC-1 in the video above, but it’s worth mentioning some of the construction features of the CMD LC-1 for those looking to grab one.

The overall construction of the CMD LC-1, as well as the other modular MIDI controllers in the

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Taylor

Taylor
September 19, 2013

Behringer CMD DC-1 Overview with Andrew Luck

We’ve been covering the Behringer CMD line of modular MIDI controllers for some time now. Mostly we have shown how they integrate with the included Deckadance 2 DJ software, but the beauty of these controllers is that they can be mapped to nearly every performance software on the market. One of the more popular performance softwares of the last few years has been Ableton Live. Ableton allows for tight organization and control of clips within it’s session view, which has powerful applications on a stage in a performance capacity. We asked Behringer product specialist Andrew Luck to walk us through how the CMD controllers can work and integrate with Ableton Live.

For this video, Andrew focuses specifically on the Behringer CMD DC-1. The DC-1 has an endless rotary encoder and 8 backlit buttons at the top for navigating your clips in the session view. Below that are 8 endless …

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Taylor

Taylor
September 17, 2013

Review – Arturia’s SparkLE and Spark version 1.7

So, I’ll be the first person to tell you I’m a hardware guy. I don’t “do” purism, and you’ll get my computer out of my studio ONLY if you are handing me a newer/bigger/better one. However, when it comes to sound, my computer mainly amounts to being the editing and summing facility. In that arrangement, my computer is where effects are applied and things are locked in. I do it for a few reasons, among them being that I love not even worrying about my CPU load once during the course of very dense productions. That said, as much as I can appreciate a good software instrument, I typically would rather have the hardware equivalent any day. That’s why I was deeply troubled this past January when I was watching Arturia’s Mike Hoska bang out some of the best sounding beats I’d heard from hardware or software from a little …