Machine learning comes to Ableton Live with Factorsynth and its introductory version, Factormini. Two Max For Live devices that use a data analysis algorithm called matrix factorization to decompose any audio clip into a set of temporal and spectral elements. By rearranging and modifying these elements you can do powerful transformations to your clips, such as removing notes or motifs, creating new ones, randomizing melodies or timbres, changing rhythmic patterns, remixing loops in real time, creating complex sound textures...
| "Quite magical." The Pro Audio Files | "A powerful instrument for breaking down audio loops in to timbral and spectral elements that can be remixed and exported in astoundingly cool ways."
Ask.Audio | "From intelligent remixing to sound textures and spectral composition, it will
appeal to many composers, musicians and sound designers." KR Home Studio |
FACTORminiFactormini contains Factorsynth's essential features, and uses the same decomposition engine. Factorize your clips with up to 8 components, remix and recombine them in session or arrangement view, randomize the component generation and export the components separately to wave files for further editing. |
FACTORSYNTHThe full version contains advanced features such as detailed manual editing of the temporal and spectral elements and a cross-synthesis panel to create hybrid components with elements of a second sound. You can factorize with up to 30 components. |
BUY
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| Maximum components | 8 | 30 |
| Factorsynth decomposition engine | 
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| Export components |
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| Cross-synthesis | 
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| Detailed component editing |
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| Buy (29 €) | Buy (49 €) | |
| Taxes will be added before checkout, depending on your country. Terms and conditions | ||
| UPGRADE | Purchasing Factormini entitles to a discount code to upgrade to Factorsynth for 25 €. To request the code, send an email by clicking here. | |
| SYSTEM REQUIREMENTS |
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| CURRENT VERSION | v1.5, 2/5/2019 (Change log) | v1.5, 2/5/2019 (Change log) |
HELP
Factorsynth and Factormini are based on some advanced machine learning algorithms, which are new to the world of Max For Live devices. I've tried to make the interface intuitive
enough, but it takes some time to get used to its workflow. You can get a taste of it by reading the user manuals:
Download FACTORmini USER MANUAL
Download FACTORSYNTH USER MANUAL
For any usage or support related questions, please contact software@jjburred.com.
You can also sign up to the mailing list: 
FAQ
How do Factormini and Factorsynth work?
Factormini and Factorsynth are based on a modified version of an algorithm called Non-Negative Matrix Factorization
(NMF). Simply put, NMF can automatically extract interesting patterns
from data. It has been used in fields such as computer vision and movie recommendations. I had to heavily adapt and tweak it in order to meet
the real-time needs of music production.
Can Factormini or Factorsynth remove a full voice/instrument from a mix?
That's unlikely, unless your voice or instrument plays only a few sustained notes, with no effects and no vibrato. Factormini and Factorsynth can extract interesting
sound events, such as individual notes, attack noises, impulses or rhythmical structures (watch the demo video to get an idea), but it's not aimed at separating full instruments. That's the
job of source separation, which is a harder thing to do! On the other hand, you can often nicely separate drum sets and individual drum instruments (kick drums,
hi-hats, snares...).
Can Factormini's or Factorsynth's parameters be controlled by Live's automation envelopes or MIDI mappings?
Most of them can (element levels, operation buttons, solo buttons, factorize buttons, main mixer levels and mutes). Also, the first 8x8 buttons
on the switchboards are MIDI-assignable. The ones that cannot be controlled by Live are: number of components, analysis parameters, reset buttons, and
switchboard buttons for components higher than 8.
THE FACTORSYNTH PROJECT
I started the Factorsynth project in 2014, first doing research on creative applications of a data analysis method called matrix factorization (hence the name). I have since then released several prototype versions for command line and plain Max. These old versions were not real-time capable but have been used by several composers of electronic and electroacoustic music for detailed sound editing and spatialization. Here are some recent works that have used Factorsynth:
- Artaud Overdrive by Emanuele Palumbo. Premiered at the IRCAM Manifeste festival, Centre Pompidou, Paris, June 2016.
- L'Aura della Distanza by Emanuele Palumbo. Premiered at CNSMDP, Paris, January 2017.
- Each Mirror Infects Itself by Maurizio Azzan. Premiered at Le Dôme festival, Montbazon, July 2017.
- Khorwa, Myalwa by Mikhail Malt. Recorded in 2017.
- Where the Here and Now of Nowhere Is by Maurizio Azzan. Premiered at the IRCAM Manifeste festival, Centre Pompidou, Paris, June 2018.
You can find these experimental versions here.