Its original workflow and possibilities in terms of virtual instruments make it a tough competitor for Live.Īnd what can I say about Apple's Mainstage, which sells for $29.99(!) and includes all Logic Pro instruments, effects and sound/loop libraries. Sometimes it's better not to try so hard.īitwig Studio, a group of developers that used to work at Ableton, deserves a special mention, too. live performances, which is already a lot. Ableton Live is obviously one of the first to come to mind, even if it has been evolving and now purports (not always with reason take, for instance, its lousy management of latency and buses) to include mixing and post-production functions. By receiver I obviously mean the tool that produces the sound, be it via direct interaction, for a more or less unrestrained improvisation, or via a previous arrangement, in order to trigger/modify pre-existing audio, transform MIDI/OSC messages or capture/transform audio created by itself or other instruments. There are plenty of solutions out there and they can respond both to MIDI and OSC, as well as to any gestures or movements you make.īut this is by no means limited to the transmitter alone, receivers have also evolved. And even new designs that stray away from pre-existing conceptions in terms of instruments, like the Karlax, Audio Cubes, LinnStrument, Artiphon, and Oval. And while most are aimed at keyboard players, other musicians are also catered for: through e-drums or wind controllers like the EVI or EWI, and MIDI pickups for guitar/bass, like JamStik+. Live performers have seen their instrumet options increase a lot in recent years - whether traditional, synthetic or electronic instruments. Strangely enough, Sensomusic's Usine Hollyhock II doesn't come up on the radar as often as other products. There are lots of software solutions for live performance.
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