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Do you remember the Casio VL-Tone series of mini-keyboards from the '80s? Still considered by many to be an achievement in engineering, what it lacked in functionality it made up for in portability, design and fun. A couple of years back, a peculiar group of Swedes who called themselves "Teenage Engineering" started showing up at the big music gear trade shows with a prototype of a new synth called the "OP-1" that appeared to be a modern rework of the VL-Tone. The physical design was deeply rooted in the original, but it had a distinctly 21st century industrial feel, as if Jony Ives himself had gone to work for Casio. Despite the slick exterior, it was hard to take the TE boys very seriously at the time, because for a while the demos didn't make any sound. But as more and more people started seeing this new synth—and the big gadget blogs start catching on—a nearly unprecedented level of anticipation started building.
YouTube via Puremagnetik | July 28, 2010 "Max Fuel, the First is a bundle of ten highly refined Max For Live devices. All were created with the musician in mind and work well in Live for either production or performance.
We all know how important high-quality monitoring is in the studio; there is simply no point in having all of the synths, effects processors and fancy plug-ins in the world if you can't do them and your mixes justice. We know too that monitors are available in all shapes and sizes and that decent quality monitoring is now available at a fraction of the price it was even a few years ago. However, the old adage of "you get what you pay for" is as true now as it was then. For producers who take their work seriously and have pockets deep enough to justify a heftier outlay, there are some great semi-pro and pro solution monitors available right now. Amongst those earning rave reviews and praise are the Event Opal monitors so, despite having been available for a while, we decided it was time we had an in-depth look and listen for ourselves.
The DDM4000 is a state-of-the-art 32-bit digital DJ mixer, jam-packed with creative tools, yet its intuitive layout will let you feel at home in an instant. Editing, storing and recalling your settings is simply a breeze! Hook up your turntables and CD/MP3 players to its 4 stereo channels, each with fully programmable EQ and Kill switches. Put ultimate versatility at your fingertips with fully programmable beat-sync’able multi-FX modules, a pair of high-precision BPM counters and a digital crossfader with custom curve adjustment.
Hi mate, just registered on the forum for the sole purpose of posting a reply, having been tearing my hair out for a couple of hours now on the same problem! The solution is... In Kontrol Key Editor, after you've set your buttons to "toggle" and saved your changes, you need to go to the communication menu, and choose "write scene set", to upload the new settings to the kontrol.
I’ve been dabbling with ableton control surface scripts about one year ago (some people may have seen the FCB1010 control surface script: FCB1010 Mappings , which I don’t really have the time to support at the moment). Btw I have a new version of the mappings, but they’re not really documented, but if you’re a bit into programming you may be able to get the mappings from the consts.py file: new undocumented mappings . In the following, I assume you know how to use remote control surface mappings inside ableton (the whole Midi Devices Input Output thingie). But let’s get down to the business of writing ableton remote control surface scripts. The scripts are written in Python and are stored inside the Ableton Live application in the Resources folder under Windows, or inside the application bundle under MacOSX. The directory containing the scripts is called “MIDI Remote Scripts”.