There are always situations where you'd want to route the audio from another software, such as YouTube, into Ableton Live. This tutorial explains how you can achieve this on a Mac.
This one's not new, but worth mentioning for all who want to learn Max for Live and who have Ableton Push. I'd posted the first tutorial in the series ‘Push Programming Oct13′ by Cycling '74. Now here's the rest.
At least in the northern hemisphere, the cold season is coming closer and closer. A great time to start a new indoors project. Like learning how to programme Push with Max for Live. The folks at Cycling '74 have started a tutorial series about exactly that.
Cycling '74 has begun a new series of video tutorials. This time, the focus is on how Max for Live devices included in the Live 9 Suite can be used. The first two videos deal with the Mono Sequencer.
In the last part of the series "Programming in Max for Live" by Cycling '74, we finally learn with the help of the Step Sequencer how to use the Live API in Max for Live devices, so that their parameters can be controlled with any MIDI controller.
We continue with the building of a synth in Part 7 of the series "Programming in Max for Live" by Cycling '74. In the first video they show us how we can program a monophonic synth based on a loaded sample, then in the second one, how it can be extended to polyphony.
For all fans of Dubstep Part 6 of the series "Programming in Max for Live" by Cycling '74 is likely to be particularly interesting. In the videos we learn how to program a Wobble Bass Synth. Starting with the oscillator, on to the integration of envelopes and synchronisation with a beat in Live.
In Part 5 of the series "Programming in Max for Live" by Cycling '74 it's all about MIDI for the first time. In it we learn how to program a step sequencer that is synchronised with Live's transport and sequenced with the velocity values of the notes.
Now that we've learned how to program a simple delay, Part 4 of the series "Programming in Max for Live" by Cycling '74 takes it one step further. It shows us how we ourselves can build a dub delay along with a classic tape wobble.