Copy to your user Library/Presets/Audio Effects/Max Audio Effects. Free Download. And then said “download max from ableton.com” or “set max route in preferences” so when a i do the second, i find the effect on the folder i can’t set it. Leave a Message Cancel reply. You must be logged in to post a comment. Album Reviews. Description: ABLETON Live10 Suite It is released in February 2018, it can present a stylish way to represent musical tasks. The musical software gives a digital audio workstation on windows. It is a major released of Live. So, it also used in mixing, recording, composing and maintain the sound. The instrument also used during live performances. R/ableton: /r/ableton Resources, tips and tricks for all things Ableton. Ableton Live, Ableton Push, and Max for Live. I made 15 Audio Effect Racks (FREE DOWNLOAD).
. Did you know that 9 of them are expandable for extra features? In this article, you’ll learn about the 9 expandable Ableton Audio Effects, and how you can use them. For more interesting production techniques in Ableton, check out our Ableton Projects Collection. This is an Intermediate/Advanced guide, so if you are new to Ableton, this might be difficult to understand.
What exactly is an expandable Ableton audio effect?
Have you ever noticed this little triangle icon, next to the “On/Off” switch in the title bar of an Audio Effect? Here’s what I’m talking about: Here are the 9 expandable Ableton Audio Effect Racks, along with an in-depth guide, showing you how to use them.
Ableton Audio Effect 1: Auto Filter
Ableton’s Auto Filter can be quite powerful under the hood. I see most people just using it for regular filter automation, but there is so much more you can do with it. Let’s start off by taking a look at Auto Filter’s expanded section. To access the Sidechain parameters, unfold the Auto Filter window by toggling the triangle button in it’s title bar. So you might ask, how does Auto Filter make use of a Sidechain? Normally, the signal that is being filtered and the input signal that triggers the Auto Filters Envelope are the same signal. Having a sidechain feature makes it possible to filter a signal using the envelope/dynamics of an external signal. Keep in mind that the Envelope section goes hand in hand with the Sidechain section. Let’s take a closer look at the sidechain settings. Here is a more in-depth description of all these settings and knobs.
Sidechain On/Off: When this is turned on, the “Sidechain” button will turn yellow to indicate that the Auto Filters sidechain input is now activated. In order for the sidechain to take affect, we need to set an audio source & tapping point.
Sidechain audio source & tapping point: This section lets us select where the sidechain signal is coming from. Clicking on the first box will open a list of all the tracks in your project. Let’s say you want the filter to react every time a “kick” sample is played. We can use the kick as a trigger to move the filter frequency cutoff according to the envelope of the kick sample. Simply select the kick track.
Tapping point: Clicking on the second box will display a list of:
Pre FX: This will take the signal before it goes through the effects chain.
Post FX: This will take the signal after it has been processed by the effects chain.
Post Mixer: This will take the signal with after going through the channel's volume fader.
Note: If you want to use a signal from a specific drumpad on Ableton’s Drum Rack, select the drum rack as the signal source in the first box, and then you can select the specific drum pad you want from the second box (tapping point).
Audio source input gain: Controls the volume of the signal coming into the sidechain. Adjusting this knob does not affect to the main track signal. Adjusting this knob can however change the extent of the filter frequency cutoff movement.
External/Internal mix: Adjust the balance between external and internal signal used for triggering the device. Dry=Internal and Wet=External trigger.
Now on the the Envelope section!
Envelope amount: Controls how much the envelope affects the filter frequency.
Envelope attack: Controls how quickly the auto filter responds to rising input levels.
Envelope release: Controls how quickly the auto filter responds to falling input levels.
Here are a few examples of how you can use this in your productions: The most common reason to use this is to sidechain the low-frequency of a sound to sweep out of the way of the kick or snare. The cool thing about using Auto Filter Sidechaining is that we can use the kick to trigger the filter to quickly high-pass. This will prevent any frequency clashing in the low-end of your synths/basses and your kick. This is how it’s setup: So what exactly is happening here? The sidechain input signal comes from a Kick track. Every time the kick’s signal enters the sidechain, the filter frequency will be high-passed. This happens because the Envelope Amount is turned to it’s highest value, meaning the high-pass filter that is selected, will sweep all the way up to it’s maximum value while there is a signal coming in through the sidechain. The Attack time indicates that the filter will react immediately rising input signals. The Release is set to 16 ms which means that the filter will wait 16 ms after the incoming sidechain signal drops, to follow it’s envelope. Here’s what that sounds like in context: The kick track is muted but it’s signal is still being sent to the Auto Filter Sidechain. I used a basic 4x4 kick pattern to demonstrate the filter sidechaining. Before Sidechain Filter:
Your browser does not support the audio element.
After Sidechain Filter:
Your browser does not support the audio element.
Here’s what it sounds like with a more exaggerated release time of 120 ms.
Your browser does not support the audio element.
It’s also possible to invert this effect, where the incoming signal triggers a low-pass filter to open up. This can be interesting when using percussion loops to trigger the sidechain. Here are the settings I’m using to achieve that. The only thing I did was change the high-pass filter to a low-pass filter and increase the release time to 120 ms to let the filter frequency have some time to return back to it’s original position.
Here’s what it sounds like now with the same 4x4 kick pattern.
Your browser does not support the audio element.
As you could imagine, there are many possibilities when using the sidechain feature in Auto Filter. Try experimenting with some different filters and see what happens!
Sidechaining is most commonly used with Ableton’s Compressor and Glue Compressor. They both have the same sidechain features, so I’ll explain the sidechain settings for the Compressor and you’ll be able to translate it to the Glue Compressor. Here’s what they look like when they’re expanded. Compressor: Glue Compressor: Unlike the Auto Filter, Ableton compressor changes the dynamics of a signal. When utilizing the compressor's sidechain, it’s possible to change the dynamics of a sound according to the envelope of the external sidechain input. The easiest way to visualize this is by looking at Compressor’sActivity View. Here’s what that sounds like:
Your browser does not support the audio element.
As we can hear, whenever the kick signal enters the sidechain, the signal of the bass ducks down. The attack, release and ratio control the following:
Attack: Controls how quickly the compressor responds rising sidechain signals.
Release: Controls how quickly the compressor responds to falling sidechain signals.
Ratio: Sets the ratio of compression between the input and output level.
Note: With a ratio of inf : 1, for ANY number of dB that inputs the compressor above its threshold, the output will only increase by 1dB. Let’s take a look at the EQ section. This section will filter the sidechain input signal. This does not affect the original source signal. Any changes made in the EQ section will not make an audible difference except for change what frequencies of the sidechain input signal are being used. Clicking on the “EQ” button will enable the sidechain input EQ Filter. This makes it possible to EQ the incoming sidechain signal. Using kicks or snares as sidechain signals often result in longer volume ducking because due to the long low end tail of the kick or snare signal. Using an EQ to filter out the low frequencies makes it possible to have a quicker sidechain because only the high frequencies are being used (which is usually the transient) to trigger the compressor. As we see in the picture above, I high-passed the kick signal to 353 Hz. The low-end tail of the kick is filtered out and this results in a quicker response. Keep in mind that this only because the high frequency transient of the kick is shorter/quicker than the low end tail. Using sidechain EQ doesn’t make the sidechain ducking quicker. It only filters the incoming sidechain signal. Here’s what it sounds like now:
Your browser does not support the audio element.
As we can hear, the sidechain ducking is very short. You can use different filters to isolate certain frequencies of your sidechain signal. It’s also possible to replicate this by just using a very short transient as a sidechain input signal. Just mute the track that the trigger is coming from s it’s not audible in your project.
Ableton Audio Effect 4: Multiband Dynamics
Multiband Dynamics sidechain feature can be a little intimidating to understand and utilize at first. I won’t fully go into how Ableton’s Multiband Dynamics works, but we’ll scrape the surface enough for you to start using it’s sidechain feature. Let’s take a look at the expanded sidechain feature. Essentially, Multiband Dynamics is 3 separate compressors+expanders for 3 separate frequency bands. It’s possible to use an external signal to either compress or expand the signal which the Multiband Dynamic Effect is applied to. This means that we can apply sidechaining to individual frequency bands. This is useful for ducking the low-end of a bass to a when a kick drum is played, so the low frequencies don’t clash. For simplicity, I’ll disable the low and high bands of the Multiband Dynamic plugin, which results in the middle frequency band spanning the whole frequency spectrum. Essentially now it’s just a regular compressor/expander. With the sidechain signal still coming from the kick, let’s setup a simple downward compression triggered by the kicks signal envelope. In this case, we only want to focus on what happens to the signal above the threshold. So what exactly is going on here? Alright, let’s break it down. Here are the settings (they are quite drastic for demonstration purposes) Threshold = - 50dB Ratio = 1 : inf When the sidechain signal enters the Multiband Dynamic, it will downward compres, causing the main signal to get quieter.The Ratioof 1 : infmeans that for ANY number of dB (inf) that passes the threshold of -50db, the output increases by only1dB. Since the signal can’t be louder than infinite dB, the output will only ever be 1 dB above -50 dB(threshold), which in result is really quiet. This is what the “volume ducking” sidechain effect is. We can create the inverse effect which is upward expansion. This means that when the sidechain signal exceeds the threshold. The main signal will increase in volume accordingly according to the threshold. A ratio of 1:0.50 means that for every0.5 dB over the threshold, the output will increase by 1 dB. Here’s what that looks like:
Ableton Audio Effect 5: Gate
If you aren’t sure what a Gate does, here’s a brief excerpt out of Live’s Manual “The Gate effect passes only signals whose level exceeds a user-specified threshold.” So by default, the gate let’s signals through which exceed it’s set threshold, the signal that determines this is also the same signal passing through the gate. But what if we want to use an external signal to trigger when the gate opens to let the main signal through? For that, we can use the Gate’s extended sidechain feature. Let’s take a look: So with the same 4x4 kick pattern I’ve been using throughout this article, we can see the consistent peaks whenever the kick signal enters the sidechain. We can see that the Kick peaks at around -12 dB and the threshold is set to around -19 dB. Since the signal of the kick exceeds the threshold, the gate will open up, allowing the main signal to pass through. Here’s what that sounds like:
Your browser does not support the audio element.
Similar to the compressor's sidechain, we also have an EQ filter section, to filter the incoming sidechain signal.
Ableton Audio Effect 6: EQ Eight
Ableton stock plugin’s have one little downside, they are so small! The extended toggle feature in EQ Eight makes it possible to change the display location and enlarge the EQ to a more workable size. This is simple yet very effective whenever you need to see an expanded display of Ableton's EQ. To adjust the height of the extended EQ display, simply drag it’s top bar up or down.
Ableton Audio Effect 7: Saturator
Let’s take a look at Saturators expanded features: Upon toggling Saturators expanded features, we see 6 additional settings. Drive, Curve, Depth, Lin, Damp and Period. These features are only available when using the waveshaper curve type. These settings make it possible to create a custom saturation curve. Here’s what they do: Drive: This determines how much the input signal will be affected by the other five waveshaper parameters. Setting Drive to 0% will negate the effect entirely. Curve: Adds mostly third-order harmonics to the input signal. Depth: Superimposes a sine wave onto the Waveshaper curve and sets its amplitude. Lin: Works together with the Curve and Depth parameters to alter the linear portion of the Waveshaper curve. Damp: Flattens signals near the grids origin. This acts like a ultra-fast noise gate. Period: Determines the number of ripples in the sine-wave created by the Depth parameter. Note: Experiment with these settings and see what they do/how they can change the Waveshaping curve. Saturator gives visual feedback upon adjusting the settings. This allows for many possibilities beyond the 6 default waveshaping curves. Here’s what a Waveshaping curve looks like with some random settings:
Ableton Audio Effect 8: Corpus
Corpus is an effect that simulates the acoustic characteristics of seven types of resonant objects. By default, it’s resonant pitch is determined by the Transpose and Fine knobs. Unless modulated, these stay at a static pitch. It’s possible to use external midi information to control the resonant pitch by utilizing the Sidechain feature in Corpus. The frequency and/or decay rate of the resonance can be MIDI modulated, by enabling the Frequency and/or Off Decay switches in the Sidechain section. The “MIDI From” choosers allow you to select the MIDI track and tapping point from which to receive MIDI note information. With Frequency enabled, the tuning of the resonance is determined by the incoming MIDI note. If multiple notes are held simultaneously, the Last/Low switch determines whether the last or the lowest note will have priority. The Transpose and Fine knobs allow for coarse and fine offset of the MIDI-modulated tuning. PB Range sets the range in semitones of pitch bend modulation. With Frequency disabled, the Tune control adjusts the base frequency of the resonance in Hertz. The corresponding MIDI note number and fine tuning offset in cents is displayed below. Enabling Off Decay causes MIDI note off messages to mute the resonance. The slider below the switch determines the extent to which MIDI note off messages mute the resonance. At 0%, note offs are ignored, and the decay time is based only on the value of the Decay parameter, which is located under the Resonance Type selector.
Ableton Audio Effect 9: Spectrum
Last but not least, Ableton’s spectrum can change it’s display location, similar to EQ Eight’s extended feature. This is very useful for taking a closer look at the frequency spectrum.
Ableton Audio Effects Free Download
Simply click the triangle toggle in Spectrums title bar. [x_line]
Conclusion
Ableton is a massive program with many features. I hope this article gave you some more insight on Ableton Audio Effect extensions. Some of these might be hard to understand at first but anything becomes easy with enough practice. The best thing you can do to get better is to experiment with all the settings and continue to study things you are unsure of! Thank you for reading this article! Keep your eyes peeled for part 2 of this series, coming soon.. Do you have any tips on Ableton audio effects you want to share? Comment Below and let us know! If you liked this blog post then it’s safe to say you’re an Ableton user. Get some free Ableton project files here.
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.
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.