: music, art, code
January 3, 2012 , , ,

A treatise on MLRv & Workflow (Part 3)

In post 1 and post 2 of this series, I talked about why it’s worth trying MLRv as a production tool, as opposed to a live performance tool.  Let’s get to some examples of what this really means.

A couple months back, I was approached by Edison to do a remix of his track My Ex-Fan Gary off of his album People are Bad Animals.  Here’s the original track.  I’ll share my remix at the end of the post:

I showed how you can receive monome presses into Ableton and how you can send MIDI data from Ableton to MLRv … why not do both? While you’re at it, why not add an arppegiator in-between??

That’s exactly what I did in this video clip:

Now, if you take the setup I showed in the clip, but use a “free” arpeggiator (as opposed to sync’d), you can trigger your MLRv loops at speeds up to 10.0ms.  Next, turn MLRv’s “Tempo Slave” option to “Off” so you can control the tempo (and thus pitch of the sample) freely of Ableton’s tempo.  This allows you to create some pretty amazing samples, in part because your ear isn’t used to hearing samples pitch down while triggering faster -or- pitch up while triggering slower.  That’s the technique I used for this sample:

ex-fan gary “dying” sample by Floader Samples

There you have it.  Some people may think that advances in technology have made music production easier.  I like to think this shows you can still make it as obnoxiously difficult as you like.  And now your remix:

Edison – my ex fan gary (floader remix) by Floader

2 to “A treatise on MLRv & Workflow (Part 3)”

  1. martin says...

    We want more tips!

  2. reinhard says...

    a serialosc and midi input for mlrv
    would be a dream
    is this possible ?
    can’t make it work with pages and my mononome

    thanx for the tips just what i was looking for
    already playing just with clip like it 2 much



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