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Imagine making digital music without having to touch or even look at your computer. The future is here with the Ableton Push, which allows you to compose melodies and basslines, make beats, arrange music, mix and master your tracks, and perform live—all from an intuitive, touch-sensitive interface. Join author and DJ Yeuda Ben-Atar, aka Side Brain, for an introduction to creating and performing music with Push.
First, Yeuda demystifies the many trigger pads, knobs, and buttons on the Push and shows how to map the device to Ableton Live. Next, learn to browse and load sounds and create drumbeats with the step sequencer. Humanize the sound of these beats by changing individual note velocity, length, and position and adding in quantization and swing. Then, learn to play Push like a pitched instrument, and use it to remotely control a Live set and Live devices. Along the way, Yeuda offers valuable lessons about basic music theory—concepts like notes, chords, scales, and time signature—that will make your experience with Push more rewarding.
Before we start making music, let's examine the hardware. The Push has 64 velocity and pressure sensitive pads with RGB LEDs. It has a USB connection, power input, on, off switch, and two expression control inputs for sustain pedals, volume pedals, breath control, etcetera. The push is bus powered, with an option for brighter LEDs with power supply. It's got 11 touch sensitive encoders, a forward LCD alpha numeric display.
And a 17 centimeters touch strip for pitch bend and scrolling, with 24 LEDs for navigation. Let's look at the Push interface. Here, we have the tempo section, the edit section, the transport section, touch strip, the pad section, scene and grid section, display and encoder section. Selection control, state control, note section, add section, and the focus navigation section. Now, that's a lot to take in.
But, we'll see that everything is very intuitive and straightforward as we touch on each one of these sections throughout this course. So, let's make some music.
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