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![]() ![]() The Saturator plug-in supplied in the basic version of Live can be set up to add an impressively dynamic Fuzz Face flavour. Overdrive is timeless, but these days fuzz is all the rage. It's easy to then set two Macro controls to modulate the amount, keeping these parameters available when collapsing the rack. You can configure the TS999's drive and tone controls for the Live GUI by clicking Configure and rotating the knobs on the original GUI. The rack configuration really starts to come in handy here. Live doesn't come with stomp-box models per se, so if you want an overdrive in front of the amp, download Ignite Amp's free TS999 plug-in ( Place it in the Audio Rack in front of Live's Amp and - hey presto - you have a Tube Screamer-type drive to add at will. ![]() Play with the other settings until you get the best sound for your guitar. Setting sample rate at 4x is a good place to start. Stomp On ItĪ click on the double arrow at the bottom of the TS999 reveals a number of other parameter controls. ![]() As with real amps, higher Gain can add amp noise, so if you live for more distorted settings you might want to add Live's Gate plug-in to your rack. Feel free to experiment by varying the Gain, swapping out cabinet configurations, or changing the mic type and axis. The Blues option is particularly expressive, offering a realistic, dynamic response to pick attack, and adding tube-like warmth to clean and slightly gritty settings.Īt lower gain settings, all these amps clean up nicely when you back off the guitar volume. Lead and Heavy also benefit from the 4x12 configuration to produce variations on heavy-metal grit in the Mesa-Boogie Rectifier zone. The Rock amp offers classic rock à la Marshall - and here the 4x12 cabinet is suggested. Boost mode will put you in the Vox area, especially with the 2x12 cabinet setting. For traditional jazz, you might want to change the microphone from Condenser to Dynamic, eliciting a warmer tone. If your style is primarily clean, funky rhythm work, set the amp type to Clean (read: Roland JC120) and stick with the cabinet default settings. Drag the Amp and Cabinet plug-ins into the area that reads, 'Drop Audio Effects Here'. If you have bytes to burn, you can, of course, use as many of these racks as you like.ĭrag and drop an Audio Effects Rack onto the Guitar input track and click on the icon with the three dots and three parallel lines. By routing this effected input to any track that requires guitar, you can avoid using multiple instances of your rack, saving CPU power. First create a track called Guitar input. You're likely to find yourself using this rig on a variety of projects, so to make access easy, let's begin by setting up an Audio Effects Rack containing everything you need. The low-cut filter will help to ensure that your mix doesn't get muddy. You can map an expression pedal to the blend for real-time control of your delay amount, or to the feedback for some cool runaway repeat effects. TAL Togu's free TAL-Dub delay plug-in will give you everything from slight ambience to full dub effects. In this month's workshop, I'll show you how to build a software amp and effects rig that will have you thinking twice before pointing that SM57 at your amplifier. (If you just have the basic Live, roughly £80 will let you add Amp and Cabinet à la carte.) By combining these two plug-ins with a few others - some included in the basic version of Live, some available free on the interwebs - you can dial up virtually any guitar sound. ![]() Fear not: if you bought the Live Suite, you can get a whole range of amp and effect sounds without any further spending by using the Amp and Cabinet plug-ins included with the DAW. But having just depleted your piggy bank for Ableton Live, you may not be ready to shell out another hundred or two for amp-modelling software. Plug-ins such as Native Instruments' Guitar Rig and IK Multimedia's Amplitube evoke the essence of Fender, Vox, Marshall and more. Guitar-amp modelling now offers such realism and convenience that it often requires a special occasion to make us mic up an actual combo or stack. Once you have your effects and amps arranged here, and have Macro-mapped the controls, you can name the Rack and save it to your Library. Live's Audio Effects Rack allows you to drag in and drop Live and/or third party plug-ins. 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![]() It will offer a dynamic range of art exhibitions, education programs, cultural events and social activities. ![]() Kunsthalle Praha is a new space for art and culture in the historical center of Prague. The current cycle focuses on research-based practices of visual artists manoeuvring on the edge of architectural practice and explores mechanisms of co-production across institutional hierarchies while dealing with the politics of space ranging from display, monuments and representative architecture to urban design. ![]() SO’s interests lie in the mutually influential relations of Art and Architecture, geographies as well as collaborative practices amongst individuals and institutions. Significant Other is a curatorial platform and exhibition space currently based in Vienna proposing a format alternating between exhibited, written and programmed positions. Furthermore, the festival aims to cultivate public spaces, to analyse and disrupt social and local stereotypes and engage in a broader public discussion in relation to topics relevant to each iteration, while focusing on one specific quarter of the city in order to achieve a condensed and correlated experience. The goal of the festival is to enrich the city based on interventions by selected artists and to mediate direct contact with contemporary art outside of institutional grounds for visitors and residents alike. M 3 festival/ Art in Space was established in 2017. Organised in partnership with Kunsthalle Praha Academy of Arts, Architecture & Design in Prague Academy of Fine Arts in Prague Prague City Gallery and Institute of Urban Development and Planning in Prague. They spring from a necessity to produce and not from a necessity to consume. Is taken up by those talents – artistic, poetic and scientific… The mental space left by the reduction of our needs… Dealing with issues of inclusion and exclusion, gentrification, visual pollution, the economy of tourism and therefore also the living conditions of the local inhabitants of Prague, a selected group of internationally active artists has been invited to develop and present new context-specific works, deploying practices which transcend traditional sculptural positions and encompass among others performance, moving image, photography and installation in an attempt to realign Moon and Earth. VICE VERSA focuses on the heart of the city of Prague and specifically gives attention to those things that usually go unnoticed in the spotlight. In the context of a festival of art in public space, it relates to issues of wide discrepancy between the general public and the professional art audience, questions regarding the various levels of social hierarchy in the population inhabiting the city, same as the peculiar relationship between local residents and short-term visitors. VICE VERSA: Our Earth is Their Moon, Our Moon is Their Earth, is the title of this year's m3 festival: Art in Space and a phrase borrowed from Ursula Le Guin's 1974 utopian Sci-Fi novel The Dispossessed it underlines the dual coexistence of two opposite, yet mutually dependent and intertwined civilisations. Has been extended to include almost everything… He began working with Vice Versa in 2014.Participating artists: Hynek Alt, Matyáš Chochola, Jasmina Cibic, Viktor Dedek, Deniz Eroglu, Feld72, Liam Gillick, Anna Hulačová, Christian Jankowski, Barbara Kapusta, David Maljkovic, Christoph Meier, Ute Müller, Antonis Pittas, Boris Ondreička, Lisa Reitmeier, Sofie ThorsenĬurated by Significant Other: Laura Amann & Jen Kratochvil For the past 20 years Philippe has served as the winemaking consultant for some of Napa’s most highly regarded properties. ![]() The terroir here was a revelation for him and although he went back to France afterward, taking a position with Chateau Petrus, he returned to the valley in 1994 and has called this his home ever since. His first job in Napa Valley was studying soils for Dominus Estate from 1991 to 1993. He has been trained and influenced by some of the most notable personalities in the wine business including Jean Delmas and Jean Philippe Masclef from Haut-Brion, Christian Moueix and Jean Claude Berrouet from Petrus, Paul Draper from Ridge, and the globetrotting wine consultant Michel Rolland with whom he continues to work on consulting projects. Philippe has the rare combination of talent and fortune to be a winemaker who started at the top: his first job out of school was at Château Haut Brion. A class in winemaking in his final year was a turning point, propelling him to earn a Master’s degree in Agronomy and Enology. When it came time for college, he acted on his childhood interests, earning a degree in Geology at the University of Bordeaux. Like the celebrated wines on which he’s built his reputation, Philippe Melka’s career has been influenced by soil.Ī native of Bordeaux, Philippe grew up intrigued by the intricacies of the land around him. ![]() |
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