An iPad app lets you touch anything you see on screen – not just a few pre-defined templates. Here, Pro Tools Eleven amp, full-screen in the app as you’d see it on your desktop, but touchable. At bottom, the dedicated transport controls from the iPad app.
Various third-party apps have turned your iPad (or, occasionally, Android) into a control surface for DAWs. Many simply emulate the features of Mackie Control, a popular inter-app control protocol. Steinberg offered its own tool with the awkwardly-named but powerful Cubase iC Pro. Killer features: keyboard shortcuts, visual arrangement overview for navigation. Then, came Apple with the wide-reaching Logic Control. While strikingly similar to Steinberg’s offering, Apple earns points for adding instrumental control, interactive help, and something called Smart Control.
What Apple didn’t do was provide touch interfaces for all its instruments and effects. And as I said in the review, that was especially odd when some already looked like iPad interfaces.
That’s where V-Control Pro, a third-party iPad DAW control app, has a killer feature. “V-Window” gives you a direct look at the interface on your desktop. So, if those desktop controls have started to look like they were really intended for an iPad – Pro Tools’ Eleven Amp here being a great example – you can now use them directly. Sure, various iOS and Android VNC apps have had the ability to do this. But rather than making you awkwardly try to navigate a computer screen entirely from a tablet, V-Control Pro combines dedicated remote controls and the remote windowing on the same screen.
V-Control Pro has some superb features for working with Pro Tools specifically, but it has robust support for other apps, too. (Think Audition, Cubase, Digital Performer, Final Cut Pro 7, Ableton Live, Logic Pro, Reaper, Reason, and SONAR, among others.)
In fact, it easily bests Apple’s Logic Remote app. Sure, those GarageBand instrumental controls are fun, but V-Control Pro gives you a proper mixing window and more dedicated transport and marker controls.
In Ableton Live, you get the sort of mixing window Ableton and transport window didn’t give you on screen.
It all makes me dream of a 15″ iPad.
- Control “sends, automation, groups, auditioning, plug-ins, jog/scrub/shuttle, I/O assignment” and more.
- Use alongside Ethernet controllers in Pro Tools.
- Retina Display support – but also fine on an iPad mini.
- Dedicated keyboard shortcuts.
- Multi-touch fader control and automation mode switching and gestural control of the faders.
- Edit, store memory positions, zoom, control windows, scrub, and shuttle (slightly different in different apps).
- Dedicated skins for different apps.
Via DailyM [Dutch only]
It’s easiest to see this in pictures, so let’s have a look at just a few (everyone from Reaper to Reason gets something similar):
V-Windows can float atop the interface, too, if you don’t need to maximize all your space. Seen here in DP8.
Logic Pro mixing window. Clean as Apple’s own offering is, you quickly realize that something close to this may be more what you want, at least for mixing and editing (once you’ve jammed on soft synths with Apple’s tools).
Apple’s Smart Controls work beautifully – for those instruments and effects for which Apple built templates. But why not use the whole interface? That’s what V-Window does for you.
This isn’t Pro Tools. This is the mix window for Ableton Live. And that means people long wanting a traditional mixer control for Live will feel right at home.
Massive editing features for Ableton Live are hugely welcome. Whereas most iOS apps (and Ableton’s Push hardware) focus on live work in Session View, this finally gives you a boost when mixing and arranging.
Loads more examples and exhaustive video examples for each of the supported DAWs are available at the developer’s site, so don’t take our word for it – check it out.
Hope we do a full review soon.
The post iPad DAW Control App To Beat? V-Control Pro Offers Direct Window on Desktop, More [Gallery] appeared first on Create Digital Music.
If Push’s whites have been giving you the blues, everything’s better down where it’s wetter. And while some readers happily dove into the Live 9 waters right on release, recent bugfixes have made this software significantly more mature. (Uh, read: yeah, some stuff was rather broken for a bit there.)
First off, just for fun, let’s talk about making your Push “seapunk” in coloring. RGB LEDs have gotten brighter, but color calibration remains an issue, and so many Push users have complained about inconsistent white coloring. Even if you haven’t had calibration issues, too, you might just want a change. New York-based hardware hacker and musician Mark Triant took matters into his own hands. The resulting blue-green color scheme is for aesthetic purposes only, but it does show what’s possible when the open source community shares scripts. Accordingly, you can install this yourself via his GitHub site – or let it lead to your own mods.
Of course, one thing you shouldn’t have to hack is anything to do with bugs or design flaws in Live itself. There, we did hear dissatisfaction from some readers on the initial release of Live 9. 9.0.3 was a vital release, as reported here previously, in that it addressed significant performance issues with disk indexing and changes to automation recording. 9.0.5 has more individual fixes rather than any big banner features, but it delivers on a number of other issues. Ableton has the whole changelog, so if you’re a hard-core Live user, you may want to read the whole thing. The highlights, though, are under two major headings:
1. GUI performance is improved: it’s no longer blocked by the indexing at launch, or slowed by sets with a large amount of devices. (Here’s part of why it’s hard to report on this: I pared back number of devices way back in Live 8, so I certainly wouldn’t have seen this bug.)
2. A variety of plug-in related crashes have been fixed. (This is I think the source of a number of crash complaints from some readers and colleagues; a couple of the specific bugs I had seen.)
Push is also enhanced (and less crash-prone under certain conditions). Most notably, you can finally browse through folders you’ve added to Places in the new Browser.
Updates on Ableton. Also, with the help of my friend David, the Ableton blog has been absolutely killing it lately – posts with some real artistic integrity, not just sort of marketing business. It’s nice when vendors sometimes make us a bit jealous.
We’d welcome your reports – positive, negative, constructive – on how things are working for you in Live and how you use it in your music. So do write us.
The post Tuning Ableton Live, Push: Undersea Colors for Push, Important Bugfixes for Live appeared first on Create Digital Music.
This synthesis tutorial is all about Glide Mode, where each note slides to the next. This synth parameter could be called glide, slide or portamento, depending on the software you use. In this tutorial we’ll use Tone2′s Saurus analog synth in Logic Pro X, but you should be able to follow along using most analog synths and DAWs.
With all the success Pittsburgh Track Authority have had recently, it’s no wonder the city is on so many minds. But if the trio have helped put their bridge-crossed home back on the map, they’ve also shown that even small cities can be a wellspring of musical talent — it’s only a matter of publicity. Just look at L.I.E.S.; its roster of experienced artists has superbly demonstrated how a lack of unsigned work doesn’t always imply a lack of ability. One newer name to come out of Pittsburgh is Chase Smith, who has just one previous record to his name. He also shares Machine Age Studios with Shawn Rudiman and Pittsburgh Track Authority.
Don’t expect that last piece of information to give up anything about WT 18 Chase Smith, though. Its four tracks shoot off in directions that even Smith’s debut record, Romance Synthetique, couldn’t have predicted fully. “Alright” and “Mantra” are the most expected cuts in this sense, laced as they are with Smith’s own sleazy vocals. Underpinned by torpid, clean-cut grooves, both prove a sound, if tame, marrying of voice and electronics. “342 Miles Away” introduces a much larger sense of space and populates it with clinking rhythm sticks and wriggling synth. It wouldn’t sound out of place on the quirky Lunar Disko Records, both with regards to quality and style. With the ease of these three pieces in mind, “(It’s Grim In) Mala Jaska” is the most obvious curve ball here. Restless where the other cuts are content, its corroded percussion and lo-fi techno thump are surprisingly bright and infectious. Like his studio partners PTA, it shows not only that Smith is willing to try different things, but that he does a fairly decent job of making them work, too. Alright isn’t going to knock everyone’s socks off, but for the adventurousness factor alone, it’s worth some time.