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Jul 10, 2013  More from Ableton: Blog Shop Help FAQ Search View unanswered posts. Board index » Ableton. Mac OSX 10.7.5 Thanks. SpeedKing Post subject: Re: Waves PlugIns in Live 9. You need to put them in a custom folder, then point Live to that custom folder to locate them. For AudioPort and Wormhole2 plugins in 64-bit only OS X DAWs, have a look at 32 Lives. On a track in Ableton, I put wormhole au, then audioport au. I opened plugwire, connected audioport au to 127.0.0.1, went to plugwire to load the file but the 'open' option was greyed out.

We are a three-person band playing biomechanical pop. We have live vocals, live keyboards, live drums and a backing track. In addition, we have pre-programmed lighting systems for each song. How is all this put together? Stage plan Our live system has migrated from a very simple collection of separate sound modules to a more integrated mesh of interacting instruments and controllers.

This article was written to clarify the mess, both for us and for the audience. Music tech geeks might enjoy this article, but the vast majority of humans will not. I will explain in detail how our live system is built and how we aim to improve it further. Overview of the audio setup We’ll start with the central hub of it all: the main computer (Macbook Pro Retina 15”, late 2013 edition). This laptop uses SSD drives, which makes things hell of a lot faster (seriously, going back to normal hard drives would drive me mad).

It’s also got two Thunderbolt ports and two USBs (which is a bummer – more USBs would be nice). The computer is running Ableton Live 9. This is the DAW we find best for combining our studio and live performances (to be honest we haven’t looked at any newcomers in years, but we’re super happy with Live anyway). The versatility of Live for both studio and live use is just super awesome.

Audio and data signal routing schematics We currently use MOTU 828x sound card with a thunderbolt connection (previously we had an M-Audio ProFire 610. The card broke down in the middle of a show, so we invested in slightly more professional gear). In order to have the possibility of building a monitoring system for our drummer (me), we had to do a bit of perverse magic.

It is impossible to do virtual routing of channels in MOTU’s system, so we output all our channels from the sound card’s optical output and feed it back into its optical input (read more ). These incoming channels can then be assigned to different outputs. The channels are output from MOTU into a DI-box rack (Millenium ADI6). The signals are linked into a DI-box with short cables to avoid interference caused by unbalanced cables.

Here on out the channels are fed to a multicore cable (essentially eight XLR cables bundled into one, with separate ends of course), which is then plugged to the venue’s stagebox.Here’s the list of channels we currently use: • Backing track R • Backing track L • Keyboards R • Keyboards L • Drums R • Drums L • Click track (mono) Front view of the main computer rack. The computer rests on top. Enttec DMX-USB Pro Rear view of the main computer rack Rear view of the sound card. The optical cable loop is visible on the left. Drums We use Roland TD-12 electronic drums. The Roland drum computer only acts as a relay and outputs midi signals to the main MacBook Pro.

All the samples are triggered in two instances of Native Instrument’s Battery 3, in which we’ve built custom drum kits. We utilize Battery’s own samples and a collection of some Vengeance samples. The reason we use two distinct drum channels in Live is simply to beef up the sound – having two kits sounds bigger and more full than one (just be careful with overbooming kicks and such). The other channel has a lot less low-end and acts as an additional mid/high layer. Kicks, snares, cymbals and “the rest” are output from Battery 4 to separate channels for easier mixing.