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Pocketmags Digital Magazines
Pocketmags Digital Magazines

Creative clip management with Push 2

Ableton’s Push hardware controllers – especially Push 2 – interact with Live’s Session View clips in ways that no other controller can achieve. Martin Delaney explains how to get creative…

It’s not often we run a tutorial that’s dedicated to one controller but, of course, Push isn’t just any piece of hardware – it’s built by Ableton itself to complement its Live software, which it does with unmatched depth. This means that there are enough Push users and Push-curious Live users out there to justify this kind of workshop coverage. Push is primarily focused on Session View which is, of course, all about clips – and we’re focusing on those here. But let’s not claim that this is ‘everything you wanted to know about Push and clips’, as that would be kind of dangerous, especially given Ableton’s ongoing habit of adding new features.

As Ableton stated in the past: once you create your clips with Push, and browse and load instrument and effect devices, then record a little jam or performance, maybe you’ll be better off putting Push to one side and working more directly with your computer. What Push does is provide a more dynamic, hands-on, ‘instrument’ vibe for that brainstorming creative process; that physical part of it is based around the controls – the encoders, buttons, and the control strip – and maybe most importantly, the dynamics and excitement that come from the way Push lets us get hands-on with audio and MIDI clips.

Audio clips used to be a kind of a poor relation on Push in some ways. But not any more, as with Push 2, we can view waveforms for samples contained within Simpler and also for regular audio clips. This is a major advance in terms of a full ‘DAW’ experience from the hardware.

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About MusicTech

The idea of this month’s MusicTech is to give you a flavour of what it’s like to record a band, with all the technical know-how that goes with it. We asked MT expert Mike Hillier to imagine you are sitting watching him prepare the studio and mic the band up and in doing so, Mike offers a hell of a lot of advice. Like I say, it’s like you’re with him... At the other end of the scale we have the new Pioneer Toraiz, a unit that, on the face of it, is packed with DJ appeal. Yet dig beneath the surface and you’ll find an incredibly powerful piece of hardware for the music producer. Talking of scales, we go from dance music remixing and production with Mason (p34) to mastering it with Label Worx. So we cover the complete process of recording to release which, quite handily, brings us right back to our cover feature! The November issue of MusicTech is out now!