Mr. Bill uses Ableton Live 12's Roar
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- Опубліковано 18 бер 2024
- Watch Mr. Bill work with Roar, a new device in Ableton Live 12. This is an excerpt from a presentation done for the Ableton team in February 2024.
Click below for more:
• Mr. Bill's current releases, tour dates, educational material: linktr.ee/mrbillstunes
• Become a Hardcore Abletoneer at mrbillstunes.com
• Get the Live 12 at www.ableton.com
I really hope they add scale awareness to the feedback note mode. Could be some fun frontiers to explore.
bro, everything you do is so amazing and technical and heavy and beautiful at the same time. it blows my mind
Whenever I think I'm mastering Ableton to its fullest Mr. Bill drops a video with so much sauce that I feel like a noob all over again
You are reliving and revitalizing your artistic development every day!!! Keep growing!!! ❤ Click my icon to check out some cool music too. 😊
Sound design art to its fullest. It is a great privilege to be able to watch such craft and listen to the artist's reasoning behind the music choices. Thank you Mr Bill for sharing this.
That Roar envelope technique is super dope.
Sounds great so textural
Brilliant Audio Design
love it!!!!
love the track.
really interesting editing thx u for all the tips ;)
Very Plaid like, love it 👾
Senior William es muy bueno
babe wake up new Mr Bill knowledge dropped
🥱 we all watching virtual riot racist sample pack today
@5:58 roar? more like meow
fr tho dope stuff as always sir
Pedestrian Tactics has been doing the Sub distortion feed for basically all his tracks lol
Album when?
Note Feedback mode is just Comb filter, isn't it? or rather a tuned delay is what's called comb filter.
Still not sure about upgrading to Live 12. Though Roar does look beast
Tipper type beat
What does ELI PURP do?
what's up with that ~500ms delay between what im seeing and what im hearing?
Zoom call is happening
“Distortion hates all subs.” Why does it hate me ):
I see Steam there. What do you like to play?
City Skylines 2, Factorio are the main 2, sometimes CSGO (or 2 now I guess), and PUBG, and sometimes (but rarely these days) Rocket League.
@@MrBillsTunes Sweet, I love Skylines! GG my guy :D
aw it's in mono lol
I apologize for that, this was all recorded through Zoom for a talk I did for Ableton & I forgot to hit "Stereo Audio" when sharing my screen 😩
nothing to apologize for my mang, you're a legend for sharing@@MrBillsTunes
Hey unfortunately with respect to tuned feedback on roar that's not how it's ever worked with remote mapping and variably discreet parameters. So what we would love is some sort of intelligent schema for choosing a destination parameter and then quantizing whatever modulates it to some sort of meaningful range. That just hasn't existed with any of the commonly available Max for live stuff. You've got the expression control set to key track but it doesn't know anything about the destination. If you set the expression control to what it's always been which is "remote", Meaning just remote mapped or one to one correlation (not modulate which doesn't even show destination moving) you'll see that the notes you think roar is tuning to have nothing to do with the notes you're playing. I mean sure there's a correlation of higher notes being played at some point will result in a higher tuned note but it's not tuned to the note you're playing. Some people have created very specific max patches to do stuff like tune resonator while you're playing and that's great but it's just not the case here that they've made this work seamlessly and I **** with this thing for a while after watching this video thinking "Oh my god did they actually make that seamless" and no they didn't and actually I really can't get it to line up one to one no matter how I scale it so far.(and yes I've tried enabling stepped mod for discrete parameters the destination). I suppose what I or somebody that's interested could do is make a piggyback transformer which you map stuff to and then choose exactly how many discrete values you want that to scale to on the other end. The scale object Combined with being able to input the source range and the destination range might do the trick. Please somebody reply here with a device if you know that exists already.
Yeah okay I did a hard test just with the minimum and maximum on expr set to the same value macroed and then ramped that through its entire range(this is how you test what is mapping to what) and it's always going to be zero to 127 on the expression output and if you try to map that to the destination which is C -1 to C5 there's no way you can ever scale it with just these objects it's inherently mismatched it will never line up.
And a final bit of clarification here, Although we have the option of normalizing live.remotel~ Which then uses the full range of its output to control the full range of the destination parameter that's not the same as creating some sort of intelligent mapping. In this situation we have a key track which is inherently going from zero to 127 and the destination is going from C - 1 to C5 which is 84 values. The only solution I see here is A custom key track made to fit the range of this particular destination parameter. The key tracker would ignore all values that didn't fall within the acceptable range of what roar wants to take and then it'll just be one to one.
Ah....i hope for my birthday, that mr bill would switch to bitwig😂😂😂
"Do the roar" - some kid annoying shrek
you sound depressed
he's always sounded like that
What was the presentation about, actually? Clearly Ableton knows what Roar does.
... but they don't know how artists actually use their software. 😜
roar makes it sound too noisy and metalic
Laughs in BitWig