Posts tagged: Ableton Live

Ableton Drum Rack: Roland TR-505 & TR-606

Free Ableton Live Drum Racks: Roland® TR-505 & TR-606

The sample packs I’ve been handing out the last few days, in Ableton Live drum rack format, free of charge! Edit: Beware though, this Drum-Rack only works in Ableton 8.2. Thanks Tomas for sharing! But you can still use the samples found in the download.

The installation notes are included in the download, but here’s one with pictures:
Put the folder “JordyVision” in the samples folder of your Ableton Library, usually found at:


Ableton Live JordyVision samples folder as seen from Ableton Live.

Put the files “TR-505.adg” & “TR-606.adg” in the correct presets folder of your Ableton Library. That would be “Drum Rack” in this case, typically located at:

Ableton/Library/Presets/Instruments/Drum Rack

Ableton Live presets folder: JordyVision Drum Racks

You can make your own folder within the Drum Rack folder if you wish. Most of the time I call these “My Presets”, “My Patches” or something along these lines, pick any name you’re comfortable with.

If Ableton gives you a “Samples couldn’t be located”, then let Ableton search the library and they should pop-up. Feel free to ask for help in the comments.

That’s it! Enjoy your vintage drumming.




Creative Commons License

Roland TR-505 Sample Pack & Roland TR-606 Sample Pack by JordyVision / Son of 8-Bits is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
Permissions beyond the scope of this license are available at

This is a Creative Commons release, however, commercial use is allowed through a license. A license is free, but registration is required. Go to for said license. Make sure to include your full name and a valid e-mail address.

More samples? On this page.


Send & return effects using a spare soundcard (Mac only)

Korg Kaoss Pad 2I was changing some things around in my studio when I noticed I haven’t used my Korg Kaosspad in quite a while. I started wondering what I could do to integrate it into my everyday producing workflow. I always used the device as a send/return effect on my DJ-mixer, or as a master effect after the mixer. But since I hardly DJ at home anymore I figured I’d reinstate it’s purpose on the production side of things: How to use the Korg Kaosspad (or any external sound-effect) as a send & return effect in Ableton Live. And then I remembered I still had a (cheap) spare sound-card lying around somewhere…

Griffin iMic

I bought this simple USB audio-interface when I still had one of those iBook G4’s with only a line-out but no line-in. (What were they thinking at Apple HQ?) You can get one for about €35,-/$40,- but any soundcard with at least one line-in and out will be able to pull this simple trick off.

Now, before we start I wanna mention that this will only work on a Mac, since they’re able to use multiple sound-cards at the same time as an aggregate device. Once you’ve got such an aggregated device up and running, you should have at least 4 outputs (or 2 stereo outputs) and 2 inputs (1 stereo line-in.) I did this by combining the Griffin iMic and the build-in soundcard (Figure 1).

Aggegrate Device

Figure 1: Aggregate Device

Connect the line-out of the external effect to the line-in of the sound-card and the line-in of the effect to the line-out of the sound-card. When using a simple device like the one above together with the a Kaosspad, use a stereo RCA cable with a stereo mini-jack at the other end. But this might vary depending on what audio-interface you are using as well as what effect you are connecting it too. A mono effect like a distortion pedal (for a guitar) works a little different, but it’s perfectly possible with most sound-cards.

Now set-up a channel in Ableton and use the “external effect” device. And select your freshly created send and return channels Like this (Figure 2):

Ableton - External Effect

Figure 2: External effect in Ableton Live (Click to enlarge)

Now you should be able to use the effect. If not, try different channels but watch out for creating feedback loops! If you have any questions, feel free to ask me in the comments!


Free online backup of audio projects: Gobbler


When you make music on your computer, (and let’s face it, who doesn’t these days. One way or the other,) there’s always the lingering thought of your drives crashing and you losing your data, and thus your work…

Well, Gobbler‘s got the solution for all you producers out there: Free online backup of your Ableton, Reason, Logic, Cubase (and other) projects, including the AIFF/WAV files, MP3’s and I even noticed it backed-up a short movie-clip that I use as a sound-source in Ableton. This cloud-service is similar to our friend Dropbox, as it also allows you to share your files with your friends and other people you work with. But this one is aimed, and only meant for, music production, and gives you a lot more space as well!

During the beta you get 25GB of free cloud-space, and another 10GB when you finish the tutorial, similar to Dropbox. And like Dropbox you also get extra space for referring friends. So, want to keep your music projects safe, sign-up for Gobbler.

The good ol’ days

The times, they are a-changing…

I’ve been a DJ for quite some years now. I’m not very famous as of yet, but I just love mixing music and seeing people dance to it. Because I’ve been DJ’ing for longer then a few years I still own a huge amount of vinyl records. And call me melancholic if you wish, but mixing music using records, two turntables and a mixer is still my favorite way of performing. Applications like Traktor DJ and Ableton Live make it a lot easier to perform, since I don’t have to worry (much) about beatmatching and I can make loops to make the mix suite my taste. It makes it easier to focus on the set itself, instead of having to worry about two records running out of sync. Sure, I prefer vinyl, but the times have changed.

Now that I’ve learned a lot about the production of my own tracks, I still dream (like I’ve been doing since the ’90’s) about having my own vinyl records cut, producing mix CD’s and releasing white-labels to give to other (more famous) DJ’s. But again, the times have changed and actually pressing my own records is becoming less and less likely every month. Even if I would fork-out the money to press records, the number of recordstores are ever declining. I’ll just have to settle for iTunes, Beatport, Amazon MP3 and the likes if I wish to sell my music.

But this is where rights & collecting agencies like RIAA and BUMA start to piss us artists off… They are desperately trying to hold on to the “old world” of music: CD’s, vinyl, tapes and stuff. These companies made sure that you’d get whatever money you where entitled to when, for instance, your music was played on-air or was used in a TV show or was placed on a compilation. These days they are actively trying to stop the use and embedding of youtube video’s, wanting bloggers like me to pay €130,- a year for embedding six Youtube video’s. But guess who’s profiting from this move? It’s not the artists I can tell you, ’cause we artists profit from the free promotion that Youtube video’s has to offer. On top of that, most of the video’s I embed on here are Creative Commons. No one makes a profit from Creative Commons, so where does the money go then? The cake is a lie I tell ya.

YAM – Yet Another Mix

Today i created another mix on Ableton Live. Being used to mixing only with vinyl, and the occasinal CD, i was bored by the idea of mixing on a laptop. And when i tried Traktor DJ i was kinda right about my hunches. But sure enough, ones i found out how to DJ in Ableton, and got a controller to make use of all the midi functions available in Ableton and Traktor. I really got the hang of digital mixing.

Abletons great warping algorithm makes mixing a lot easier, due to the fact you don’t need to keep an eye on the pitch, and spend all your energy in making great transitions using the “EQ Three” or just making the audience flip-out with additional effects. It did fail to warp Shlomi Aber’s freakside however. The first section of the tune warped beautifully but ones it got to the main break it somehow thoughtit needed to play half-speed. I havn’t figured out how to fix this either, as i don’t feel like warping the whole track by hand. And changing its speed back up caused the first section to speed up as well.

These kind of troubles won’t be found in Native Instuments Traktor DJ Studio. The algorithm used in this app finds the BPM quickly. And will update it during scanning of the waveform. Every now and again it will think a (for instance) 126 BPM track is 63BPM (half speed), but will quickly change back to 126 after hitting play. The only real nag i could find was the precision of the pitch, and i not sure if i should be unhappy about it or not.. It’s so precise that i had to make small changes to the pitch more often then i have to using vinyl! This is a real drawback for me, on one hand i would like to make pitching less tedious. (I don’t make many mistakes on vinyl decks, but still.. Lesspitching is more focussing on the mix.) On the other i want the “feel” of mixing on real decks, without having to drag a hundred kilograms of vinyl with me to every gig.

There is a perfect solution to my problem though…
It’s called Traktor DJ Scratch. Two timecoded vinyl’s or CD’s combined with a low-latency soundcard and an application capable of stretching the waveform. Software and hardware like this is not new. I tried different “scratch” versions in the past, with good results. So i guess i got to invest in a 4-in,4-out soundcard and combine this with Traktor DJ Scratch. Ableton will allways be handy for productions and the occasional concept mix. So i’m still happy using it.

Traktor DJ is temporarily available for half price! For just €99 it can be yours. Through an official seller or the official website;
The offer is valid till the 30th of September.