“Oh my god, it’s a mirage” - Adam Keefe Horovitz
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| MaxforLive | Audio Devices |
|---|---|
| Ableton Live Compatibility | Ableton Live 10 Standard with MaxforLive, Ableton Live 10 Suite, Ableton Live 11 Standard with MaxforLive, Ableton Live 11 Suite, Ableton Live 12 Standard with MaxforLive, Ableton Live 12 Suite |
| Min. Requirements | Ableton Live 10 Standard with MaxforLive Installed or Ableton Live 10 Suite |
| OS | MAC OS 11.0 OR LATER / WINDOWS: 10 (64-BIT) OR LATER |
4 reviews
100% average rating
Samplers or any digital processor take analog audio in and convert that analog information into digital information called bits.
More bits allows us to make measurements of amplitude — from the quietest signal just above the noise floor, to the loudest signal just before clipping.
1-bit gives us two different measurements, 2-bit gives us four measurements, 3-bit gives us eight. Each bit doubling the number of measurements.
8-bits gives us 256 different measurements of a signals amplitude.
Sands bit-matrix is your cockpit — allowing the patching of individual bits to the wrong places.
Move bit-1 to the position of bit-8. Now the noise floor screams in your face.
Move bit-6 to the position of bit-2, now it sounds a bit like FM.
Move bit-3 to to the position of bit-4, bit-1 to the position of bit-7, turn off bit-2, and invert bit-6. Now it sounds like a robot punching you in the face.
Flavorful Filters
Most samplers from the 80s used filters to prevent aliasing, a reconstruction error from digital back to analogue audio.
Sands too employs a modeled filter that starts as a high shelf filter, morphs into something resembling a band pass filter, and then at the bottom of the range, becomes a high shelf filter again.
Sands is co-developed by Dr. Ryan Page and Takuma Matsui.
A: Sands is a MaxforLive audio effect designed to reshape your sound by simulating and manipulating old digital sampler technology. It models the digital-to-analog and analog-to-digital converters of an 8-bit sampler, allowing you to scramble, skip, and invert bits to introduce unique distortions to your signal.
A: To use Sands, you’ll need:
Ableton Live 10, 11, or 12 (Suite or Standard with MaxforLive installed)
Operating System: macOS or Windows
A: Yes, this product requires MaxforLive, which is included in Ableton Live Suite. If you’re using Ableton Live Standard, you can purchase MaxforLive separately via your Ableton.com account.
A: MaxforLive is an extension for Ableton Live that allows users to build custom devices, instruments, and effects, as well as integrate interactive visuals and hardware. It adds advanced flexibility and creative control directly inside Ableton Live.
A: Visit the Rainbow Circuit developer page: https://isotonikstudios.com/developer/rainbow-circuit/
Takuma Matsui is an artist and music technologist based in Brooklyn, NY.
As an artist, Takuma draws influences from artists of various disciplines, including T.S. Eliot, Bela Balaz, Aaron Copland, and Robert Henke. His work explores form-mediums at the intersection of new tools and aesthetics; incorporating Max/MSP, 2D animation, and new modes of digital communication.
Takuma has worked with clients including Splice and iZotope, and is producer and instructor at 343 Labs in NYC.
FOR MORE PRODUCTS BY Rainbow Circuit – CLICK HERE
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Brian Funk –
I love adding a little texture and grit to my music, and this device is perfect for it. You can go subtle or extreme. It’s great for a little character and for total destruction. Very useful and satisfying! Great work!!!
Ed Blomquist –
This device is capable of beheading your sounds. It’s not pretty, and it’s not friendly. It’s just nuts, in a great way… If you like shredded speaker cones to hold your ice cream!
Andrew –
As someone heavily inspired by the sounds of Ben Frost, Nine Inch Nails, and Aubrey Hodges, I am constantly on the lookout for ways to destroy sounds and Sands absolutely delivers — very quickly you can get interesting distortions and crunch. Ever since the teaser trailer put out by Rainbow Circuit I was looking forward to getting my grubby dirty hands on it to get them even dirtier and grubbier. The filth that comes from this effect gives me all the nasty textures I’m seeking.
Peter –
This is admirably dirty, especially for moments when subtle saturation is not an option. A very interesting take on digital distortion, and I actually like the interface that made perfect sense after watching the video tutorial.