How To Put Downloaded Sample Packs Into Ableton
Feb 10, 2018 Free for Ableton Live 10 Intro, Standard and Suite Owners. A homage to the style that made sampling an art form and put a new kind of groove on the musical map. Chop and Swing comes loaded with curated recordings and professional presets perfect for cutting up and re-combining into fresh new tracks.
How To Put Downloaded Sample Packs Into Ableton Windows 10
Scroll down to the Loopmasters section, select 'GET NOVATION LOOPMASTERS SAMPLES' and then 'Click here to redeem': Once downloaded, you will find a folder containing the samples in your downloads folder. Copy this folder somewhere safe where you will not delete them (for example your documents folder). Next, we can add the samples to Ableton Live. (This folder will contain all the future Live Packs you are going to download) 2. Open Ableton Live and go to “Places”, on the Library browser (left side on the screen) 3. Click in “add folder” 4. Select the folder “HelloSamples” you created on the first step and click Open. You have now created a PATH on your Ableton Library. There are two ways to add samples downloaded from Sounds into your DAW. Note: Presets are downloaded outside of the app. They will download directly to your browser's downloads folder instead. Refer to this article for more information. 1) From the Splice App. Simply drag samples directly from the Splice app into your DAW's timeline/software instrument. Scroll down to the Loopmasters section, select 'GET NOVATION LOOPMASTERS SAMPLES' and then 'Click here to redeem': Once downloaded, you will find a folder containing the samples in your downloads folder. Copy this folder somewhere safe where you will not delete them (for example your documents folder). Next, we can add the samples to Ableton Live. So the short answer is - the als file should open an instrument (or something) in your Live set. If you like it, you save it. It will end up in your User Library-Presets folder. AFAIK Samples will be saved in your sample folder under User Library -Samples. No need to Manage Files.
Ableton Live 10 brought with it 10 New Downloadable Packs that you can download right inside of the Application! Drums, Synths, Keys, MIDI, FX and more…
Live 10 was officially released last week and I’m sure your news feeds have been overrun with posts about it. However, I have yet to see any posts about the all new Live Packs that were released with the update. There are 10 of them and they all sound phenomenal and are jam-packed with quality goodies!
Free for Ableton Live 10 Intro, Standard and Suite Owners
Chop and Swing New in Live 10
A homage to the style that made sampling an art form and put a new kind of groove on the musical map. Chop and Swing comes loaded with curated recordings and professional presets perfect for cutting up and re-combining into fresh new tracks. (intro, standard, suite)
Skitter and Step New in Live 10
A sound collection that inhabits the space where growling basses, rinsing pads and jarring melodies collide with jagged, broken percussion. The cavernous spaces, dubby basses and tight drums are ready for production but were designed for deep sound manipulation. (standard, suite)
Drum Essentials New in Live 10
Drum Essentials is a collection of handpicked sounds selected to cover a wide range of styles. A flexible, highly refined Pack to form the rhythmic foundation of any production. (standard, suite)
Free for Ableton Live 10 Suite Owners
Punch and Tilt New in Live 10
A dancefloor-ready collection of sounds focused on machine rhythms, weighty bass and dark, hypnotizing melodies, textures and noises – a rough sonic aesthetic that started with a small group of underground producers and has grown into a worldwide scene.
Drive and Glow New in Live 10
Drive and Glow combines swirling synth textures, overdriven guitars and basses and pounding drums. Carefully curated to be mix-ready out of the box, this Pack is perfect for creating tracks that radiate with saturated, indie vibes.
Glitch and Wash New in Live 10
This collection explores the contrast of organic texture and precise rhythms – combining precision slices, jagged electronic noise and microscopic snippets of sound with warm ambient pads, textures and soundscapes.
Build and Drop New in Live 10
Build and Drop is loaded with ecstatic leads, enveloping bass, slamming drums and a range of rises, sirens and sounds effects. A creative toolbox for building the irresistible anticipation and release this music uses to keep the party going.
Synth Essentials New in Live 10
Synth Essentials expands the Core Library with fresh presets for Ableton’s synths and samplers. Created by top artists and sound designers, Synth Essentials makes it easy to find the sounds you need with no interruption to your creative flow.
Electric Keyboards New in Live 10
Electric Keyboards is a new Pack featuring multisampled Fender Rhodes Suitcase, Wurlitzer A-200, and Hammond C3. Special attention was given to making this Pack sound as true-to-life and organic as possible. The result is characterful electric keys for any genre.
Drum Booth New in Live 10
Drum Booth contains carefully curated samples of acoustic kits recorded in a tight, dry room. Perfect on their own or as reinforcement for electronic drums, Drum Booth also offers unique post processing options and experimental recordings not possible with standard acoustic libraries.
Live 10: Installing and managing Packs
- Live Versions: 10
- Operating System: All
In Live 10 it’s possible to download and update Packs from within the Live Browser.
For installation of Packs in Live 9, see our dedicated article – Live 9: Installing and managing Packs.
Viewing Packs in Live’s browser
Click on Packs, under Places. You’ll see a list of all currently installed Packs. At the bottom you’ll see a section with any updates available, underneath that a list of all other available Packs to download as part of your Live License and a link to browse for more Packs on Ableton.com.
Native Instruments
Any greyed out packs means that there’s either an update available for that Pack in order for it to work in Live 10, or the Pack may have been moved or deleted from your hard drive.
Updating Packs with Live’s Browser
Unfold the dropdown where it says that there are updates available.
Then click on the downward pointing arrow to download an update. The icon will change to a pause symbol showing the download progress and when complete changes to “Install”.
Press “Install” and the installation progress dialog will pop up.
Once installed, the Pack displays in Live’s browser and any available lessons open in the Help view.
At the end of World War II, the formerly independent country of Poland found itself firmly within the Soviet Union’s sphere of influence. Despite brief periods of liberalisation, the next 40 years under communism were an era of political and economic repression that only came to an end in 1989 with the dissolution of the Soviet Union and the Eastern Bloc of allied socialist states. For many Polish artists and musicians of the period, censorship was a constant concern and repercussions could be harsh for creating work that was deemed to be decadent, anti-Soviet, bourgeois or simply not compatible with the state-sanctioned aesthetic of ‘socialist realism’.
It is therefore surprising to learn that despite the circumstances, one of the first institutions in Europe dedicated to experimental and electronic music was actually founded in Poland. Set up in 1957 to create musical 'illustrations' for movies, radio and television, Polish Radio Experimental Studio (PRES) was an island of artistic freedom throughout the 1960s, 70s and 80s. As one of the few studios in Eastern Europe with electronic music equipment, and crucially, engineers who could service it, the PRES was a center of research into the possibilities of tape music and saw the creation of many astonishing original electro-acoustic works.
Polish Radio Experimental Studio – equipped for tape music experimentation
While some of the studio’s Western counterparts (the Columbia-Princeton Electronic Music Center, the San Francisco Tape Music Center, GRM in Paris, the WDR Studio for Electronic Music in Cologne) were respected cultural institutions in their day (and have since taken on near-mythic status), the output of PRES remains underrepresented in the history of 20th century music. Now, in an effort to make the story of the Polish Radio Experimental Studio more widely known, the country’s cultural institute, Instytut Adama Mickiewicza (IAM), has commissioned a sample library to be produced from some of the works made at the studio by composers Krzysztof Knittel, Elżbieta Sikora and Ryszard Szeremeta in the 1970s and 80s.
We’re thrilled to share this special free collection of sounds and devices with you. This includes nearly 300 sounds, loops and effects organized into Drum Racks, with custom designed Effect Racks and carefully chosen Macro Controls. Download the Pack below and read our interviews with project coordinator Michal Mendyk and Ableton Certified Trainer Marcin Staniszewski, who assembled the Pack.
Download free Sounds from the Polish Radio Experimental Studio
Please note: Live 10 Suite is required to make full use of the devices included in this download
Interview with project coordinator Michal Mendyk
Can you briefly sketch the origins of the Polish Radio Experimental Studio?
Polish Radio Experimental Studio was one of the first electronic music centre in Europe, founded in 1957 in Warsaw as a department of state Polish Radio. The founder of the Studio was Józef Patkowski, a musicologist and expert in early electronic music. What’s interesting is that Patkowski was strongly supported by Włodzimierz Sokorski, a radical Marxist, chief of Polish Radio and former minister of culture of People’s Republic of Poland. Paradoxically, a couple of years earlier, it was Sokorski who introduced social realism and radical political and aesthetical censorship in Polish art and culture. He was famous for having said about Witold Lutosławski, one of the leaders of Polish music vanguard that “he should be thrown under a tram”. So, in 1957 the same guy was responsible for creating the most experimental music centre in the whole Eastern Europe! He later said that Polish Radio Experimental Studio was his way to redeem his previous sins. This is one of many example of how paradoxical cultural and intellectual life in an authoritarian system can be.
Uncovering the Soul of the Polish Radio Experimental Studio. English subtitles available.
Along with the Experimental Studio of Slovak Radio in Bratislava, the PRES was one of the only official institutions where electronic music was produced in Soviet-dominated Eastern Europe. Were the activities of the PRES ever overtly politicized, either positively as evidence of the “progressive” nature of socialism, or negatively as an example of “bourgeois” cultural activities that should be suppressed?
The situation of Polish culture was very special in the Eastern Bloc. After the death of Stalin in 1953 and the change of government in Poland in 1956, there was a strong tendency towards liberalisation in social life – what was known then as “The Thaw”. Although in many disciplines this tendency was later reversed, it did not change in art and culture. Of course there was a strictly political censorship, but almost no aesthetical one. Actually progressive, even avant-garde artists were strongly supported by the government as a part of official propaganda that was trying to say “We are socialist and at the same time we are progressive and liberal”.
Thanks to this paradox, the international careers of such figures as film director Andrzej Wajda, composer Krzysztof Penderecki or theatre director Jerzy Grotowski became possible. This was not the case in any other Eastern Bloc country where artistic experiments were restricted, if not strictly prohibited. For example, the Experimental Studio of Slovak Radio, created in 1965, regularly faced problems from the side and produced only a couple of dozen works.
At the same time, Polish Radio Experimental Studio produced over 300 hundred autonomous works and even more soundtracks for radio, film and TV. It also regularly hosted both young and renowned composers from the West, including Arne Nordheim from Norway, Lejaren Hiller from USA, François-Bernard Mâche from France or Franco Evangelisti from Italy. On the other hand the Studio was a part of socialist system. Therefore, although in practice it concentrated on autonomous experimental works, officially it’s main task was to create incidental music for radio, TV and film. So again, there emerged interesting paradoxes. For example the same composer could create experimental work with hidden anti-government message one day and on the next he was hired to produce the soundtrack for a pure propaganda film.
Eugeniusz Rudnik, a pioneer of electronic music in Poland, working at PRES
Unlike figures such as Iannis Xenakis, Pierre Henry or Luc Ferrari at GRM in Paris or Karlheinz Stockhausen at Studio für Elektronische Musik in Cologne, the composers working in the field of electro-acoustic music at PRES remain fairly unknown. What do you think explains this? Was it just a matter of Poland being outside of the European/American record industry? Or was the music or the composers’ activities somehow suppressed?
One important reason is of course that Polish Radio Experimental Studio was neither as advanced nor as productive as GRM in Paris or WDR studio in Cologne. This is a fact. On the other hand, in so called contemporary “serious” music there are still very strong “national centers” in Germany, France and America that largely focussed on what happens in their own milieu, without deeper interest in the peripheries.
Secondly, PRES did not have important achievements in the digital domain, in a way it has remained a purely analogue phenomenon. Its “golden era” was in the 1970s, more than 40 years ago. Many of the best works have been forgotten, especially because in the last quarter of the 20th century in Polish and Eastern European “serious” music has been dominated by conservative, neoclassical and neo-romantic tendencies. From this point of view experimental works were considered nonsense.
Also, after the fall of the iron curtain, artistic circles in many Eastern European countries became extremely interested in exchange with Western cultural circles, and very often undervalued their own tradition. It's only now, after almost 30 years, that this tendency has changed. Experimental music is a special case, I believe – in the post-techno era, there seems to be a global tendency of searching for the analogue roots of our contemporary digital sound.
Tape machine, mixer, filter banks, oscillators, chalkboard, giant ashtray – the classic 70s electronic music studio set-up at PRES.
And how did you come to the idea to use the recordings from the PRES archive to make a shareable sample library?
I could just say that creating samples is nowadays the simplest way to give archival recordings a second life. But I also strongly believe that Polish Radio Experimental Studio archives really fit contemporary music production practises. Actually, many PRES composers worked in a way that is more similar to contemporary music producers than to “serious” experimental music music composers from Germany of France. The latter were deeply involved in sophisticated artistic theories or advanced technological experiments. Most of PRES composers on the other hand, were as involved in experimental music as in incidental music and these two fields often mixed in very interesting way, making their film music more “experimental” and their experimental music – more emotional, sensual and accessible. On a technical level this means: the practise of sampling their own or other composers’ works, as well as popular songs; reusing the same material in different compositions in a “remix-like” manner, adding regular rhythmic pulses to experimental sounds and textures, etc.
Produced at PRES: Józef Robakowski’s 1971 piece “Prostokąt dynamiczny”
Produced at PRES: Bohdan Mazurek - “Daisy Story”
Interview with sound designer Marcin Staniszewski
You are an Ableton Certified Trainer, a musician, a producer and you work as a sound designer for apps, film and television. How did you find the experience of digging through the archives of your own country’s experimental music?
It was an ear opening experience. I was aware of Polish Radio Experimental Studio and most of the notable composers that were active during its existence but I was astonished by the quality of sounds, and the unique timbres and textures they achieved with such limited tools compared to current technology. It's just mind boggling. The coolest thing for me was that most of that music is not super tight in terms of certain BPM or grid. It’s usually improvised and very alive, evolving all the time.
Digitized stereo tape mixdowns served as source material for the free Pack
What was the state of the materials you were given access to and how did you go about organising it?
I received digitized source material. Most of the material was recorded to tape, by professional engineers, and you can definitely hear that. I was given access to stereo mixes, so I had to be creative because it was often a challenge to find the right moments to cut the samples. As I was digging thru the material, the majority of the samples fell naturally into one of three categories - it was either some percussive sounds, sound effects or rhythmical loops, so I did not have to think too much about it.
How / why did you decide to put the material into Racks and Audio Loops?
I decided to use Drum Racks as to me they are the essence of Live – the most creative and, at the same time, simplest tool. There are just endless possibilities with all the chains, grouping and macros. It’s also a very clear structure, so it was also very natural for me to put the samples in Drum Racks. As for loops, I didn’t really care if they are looping in a conventional regular manner. I was only looking for a grooves, and the weirder, the better. I mean I had access to some eccentric, crazy stuff, so I had to explore that side of it. I just wanted to be sure that it loops seamlessly. Don't ask me about the tempo or time signatures though!
What surprised you most during your work?
I discovered that compressors are one of the most overrated tools nowadays. All these compositions are very dynamic, to such an extent, that even a simple white noise burst was giving me goosebumps. There are some soft passages followed by noise explosions and such things create another level of tension. This dynamic dimension is lost nowadays and it’s a shame because it can be so powerful. No wonder why some old school engineers use compression so lightly.
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Also, as I was working on the tune showcasing this library (I liked the idea so much that I started a new solo project called SICHER and you can expect at least an EP very soon), I was amazed by how much one can squeeze out of one loop or one sample. It’s so much fun and so much more coherent when you use just three or four samples and then mangle them to death instead of using 100 different samples from all over the place. You can be sure that they share a common 'timbre signature' and its not limiting at all. I found that I can make a whole drum kit out of one simple sound! It's just the matter of super simple operations like adjusting the start/end point of sample, or pitching it up and down. You want a clicky kick drum? Just move the damn start point so it does not fire off at the zero crossing and you got a nice click that will cut through the mix.
Krzysztof Knittel – “Study Nr. 1”
Krzysztof Knittel is a sound engineer, composer, performer, music journalist, social activist associated with the independent culture community during the martial law years, academic organizer and lecturer. Knittel has worked with a variety of styles, genres and techniques but one constant among all them has been his interest in electronics, which brought him to the Polish Radio Experimental Studio in 1973.
Elzbieta Sikora – “Voyage II”
Elżbieta Sikora began her career studying under Pierre Schaeffer and François Bayle, two key members of Groupe de Recherches Musicales. She has been associated with the Polish Radio Experimental Studio since the 1970s. After relocating to Paris in 1981, she has worked at a number of renowned electronic music studios and composed orchestral works and operas, many of which show strong traces of electronic narrative.
Ryszard Szeremeta - “Pulse Rate”
Ryszard Szeremetais a composer, conductor, and long-time head of the Polish Radio Experimental Studio. He also produces records, concerts, and electro-acoustic music performances, and was a member of the semi legendary Polish jazz quartet Novi Singers.
Download free Sounds from the Polish Radio Experimental Studio
Please note: Live 10 Suite is required to make full use the devices included in this download
Adam Mickiewicz Insitute gives general authorization to anyone who would like to use the samples in any manner, including their unlimited processing or adaptation.
Learn more about Polish Radio Experimental Studio.
Follow Marcin Staniszewski on his website and download the full Live Set of his track “This Is P R E S”, which uses mostly sounds from the P R E S Pack.
Photos by Andrzej Zborski, 1962–1972, Courtesy of the Museum of Modern Art in Warsaw.
The project is co-organised by the Adam Mickiewicz Institute as part of POLSKA 100, the international cultural programme accompanying the centenary of Poland regaining independence.
Financed by the Ministry of Culture and National Heritage of the Republic of Poland as part of the multi-annual programme NIEPODLEGŁA 2017–2021.