Infinity Count

Infinity Zero

2024 07 03 HL TPP 01 05

2024 06 29 HL TTP 01 04

2024 05 30 HL TPP 01 04

2024 09 11 HL FAT 01 04

WAV52 | 01 | Weekly Audio Ventures

WAV52 is a yearlong musical journey based on tutorials from PushPatterns Craig Lowe and WRKSHP’s Andri Søren. Every week, a new sound, a new adventure. With WAV52 Weekly Audio Ventures, I’m embarking on a challenge to create music every single week for an entire year. It starts simple: just pure audio files, no effects, no MIDI—like an artist sketching with nothing but pencil and paper.  

But as the weeks go by, the journey becomes more adventurous. Slowly, MIDI and effects will make their way into my compositions, and these simple sketches will transform into intricate musical landscapes. Where will this evolution take me? That’s the thrill of it: the destination is unknown, and each week brings new surprises.  

This is more than just a project—it’s a story about growth, experimentation, and the joy of creating music. The early steps might be raw and unpolished, but that’s the beauty of a journey. It’s not about perfection; it’s about discovery.

WAV52 | 01

WAV52 | 03 | Weekly Audio Ventures

This time I focused on using the four Launch Modes – Trigger, Gate, Toggle, and Repeat. I also experimented with follow actions and warping algorithms, though I think I’ll need more time to fully explore those tools. In total, I created five versions of the main track. I started with a bass clip as the foundation. In the first version, I included an Acid Techno beat, but as I refined the track through the versions, I decided to remove it. Initially, there was also an audio sample of my self, but that gradually disappeared as well.

To bring more rhythm into the track, I added two cymbal shakers and a heavy kick drum. While I like the dynamic this creates, I wish the kick drum could have been even heavier. That’s something I’ll save for one of my next tracks. All in all, this was a fun challenge, and I’m looking forward to developing these techniques further in my upcoming tracks!

WAV52 | 03

WAV52 | 09 | Weekly Audio Ventures

My starting point usually comes from a search session on Push2. I never know what I’ll find, and I never know where to begin. But I always come across something special—that becomes my starting point. From there, I start adding elements and building further.  

However, I had to let go of that process because we now had to create a track using Live’s Generative Tools. That wasn’t easy. I quickly realized that mastering these tools takes a lot of time and practice. Fortunately, I’m not in a rush, so every week, I try to expand my knowledge little by little.  

The bassline turned out a bit cheesy, but I’m working on improving it. Step by step, I’ll get there! :)

WAV52 | 09

WAV52 | 19 Weekly Audio Ventures

Ableton Live’s Meld is a fascinating journey into sound exploration. So far, I’ve only scratched the surface, but it’s clear there’s so much more to uncover. Meld really encourages experimentation—tweaking, trying things out, and seeing what happens. My first approach was a bit cautious, but I’m definitely planning to dive in much deeper later on.

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WAV52 | 22 | Weekly Audio Ventures

This week revolved around Ableton Live 12, with a special focus on Simpler. My long-term goal is to build a custom Simpler library filled with tailor-made instruments—ideally covering all types of sounds. I haven’t gotten to that stage yet, as creating such a library is a long-term process that requires careful planning. For now, I’ve mainly been exploring Simpler’s capabilities and created a first music track as part of that exploration.

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Since I was quite impressed by the possibilities that ‘Meld’ in Ableton Live 12 has to offer, I decided to spend another week getting to know the instrument better. I used the same project file as in WAV52 |32, but with different settings. It‘s fascinating how much variation you can achieve just by tweaking parameters. I get the feeling you could keep exploring this for weeks—the possibilities seem endless.

While exporting, I encountered a strange issue. In the Arrange window, all ten track clips were visible, but one of the clips didn’t partially produce any audio feedback, even though the MIDI track itself was clearly displayed. To solve this, I froze the track from MIDI to Audio. After that, I was able to copy the missing audio back into the track and export the whole session successfully. The scale is Mixolydian.

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WAV52 | 35 | Weekly Audio Ventures

This week, I worked with the Pitch MIDI effect in Ableton Live 12. I used it on eight out of ten instruments in my project, but I'm not convinced it deserves a permanent spot in my standard MIDI effects chain.

The Pitch effect shifts incoming MIDI notes by up to 128 semitones—or around 30 scale degrees. While it offers precise control, I don’t currently see much added value. If I want to hear a note an octave higher or lower, I usually find it quicker and more intuitive to adjust it manually in the piano roll.

That said, maybe I need to study the effect more closely to fully understand where it truly shines. This weeks scale is C Phrygian.

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WAV52 | 36 | Weekly Audio Ventures

This week, I spent some time exploring the CC Control MIDI effect. I didn’t overuse it, but it still found its way into seven out of my ten MIDI tracks. MIDI CC is like a hidden toolbox that extends the possibilities of a MIDI message — letting you control things like the mod wheel, pitch bend, and pressure.

For me, it was mostly about pitch bend. It’s quick, expressive, and easy to shape ideas with. Still, I often find myself reaching for my Push 2 when I want to work with pitch bend, the mod wheel, or pressure. There’s something more immediate and tactile about doing it directly on the Push 2 rather than through Live’s interface.

Maybe my habits will shift over time, but for now, the Push 2 wins hands down. This weeks scale is C Locrian.

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WAV52 | 37 | Weekly Audio Ventures

I’ve been diving into the Auto Filter Audio Effect in Ableton Live 12.2 – and it felt like a real revelation. Until now, I had never really worked with it, but I quickly discovered how many creative possibilities this effect has to offer. What really stood out to me was the External Source function: it lets you feed the filter with a rhythm taken from one of Live’s Instruments or even Audio files, giving your sound a more dynamic, organic movement.

Experimenting with it instantly brought more depth and variation to my sound. The Auto Filter has impressed me so much that I’ve already decided to make it a permanent part of my standard Audio and MIDI Effects template. This weeks scale is C Minor Pentatonic.

WAV52 | 37

This past week, I’ve been diving deeper into the Audio Effects Rack in Ableton Live 12. I’m not quite finished exploring it yet and will need more time to really master it, but the possibilities are already very promising. Working with audio effects becomes much more streamlined and efficient. I also find the Macros especially useful, as they can serve as shortcuts to effects within an instrument, speeding up the creative process. I definitely plan on integrating the Audio Effects Rack into my workflow. This week‘s scale is C Major Pentatonic.

WAV52 | 38

Last week, I dove deeper into Beat Repeat, an audio effect in Ableton Live 12. I managed to apply this effect to eight out of the ten tracks I worked on. However, most of my time was actually spent improving my workflow.

By working with Group Tracks, I’ve become much more flexible. It’s now easier to apply audio effects not only to entire instruments but also to specific parts of them.

My approach to composing has also changed. In the past, I created about eighty percent of a track in Session View, but now that’s closer to thirty percent. I complete most of my compositions in the Arrangement View, where everything comes together. This week‘s scale is C Harmonic Minor.

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AV52 | 40 | Weekly Audio Ventures

This week I explored Ableton Live 12’s Chorus-Ensemble Audio effect. It offers three different modes to choose from: Classic, Ensemble, and Vibrato. So far, I’ve only made use of the Classic and Ensemble modes. I haven’t yet found a good application for Vibrato, but that might come later. The scale I worked with this week is C Harmonic Major.

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WAV52 | 41 | Weekly Audio Ventures

This week I’ve been exploring Ableton Live 12’s Corpus audio effect. Since this effect is particularly responsive to percussion, I worked exclusively with drums—though that’s by no means a requirement. What I found interesting is that you can actually shape a kind of melodic structure using nothing but percussion. This is probably because Corpus allows you to heavily transform the sound. It emulates different resonant materials to generate exotic, otherworldly tones.

For this week’s experiment, I used the C Dorian #4 scale.

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WAV52 | 42 | Weekly Audio Ventures

This week, I delved into Ableton’s Live 12 Delay Audio Effect. It's quite remarkable how this seemingly small effect can significantly impact sound. In fact, I built upon the file I created last week. By incorporating delay, I discovered a completely different interpretation of the sound. This week’s scale is C Phrygian Dominant.


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WAV52 | 43 | Weekly Audio Ventures

This week, I worked with the Drum Rack and Drum Buss of Ableton Live 12. I didn‘t create any new instruments, but I did load sixteen samples into an empty Drum Rack. These samples are of historical significance and were created by Tom Dissevelt and Dick Raaijmakers in the 1960s at the Philips NatLab. Philips wanted to explore whether there was a market for electronic music at the time and invited Dissevelt and Raaijmakers for this purpose. This eventually led to the creation of the first LP in the Netherlands made entirely with electronic instruments. This week‘s scale is C Lydian Augmented.

WAV52 | 43

This week, I focused on Ableton Live 12‘s Filter Delay. While it may seem that not much has changed compared to last week, the Filter Delay offers a wide range of possibilities for shaping the sound‘s spatial quality. I must admit that I‘d like to spend a bit more time on this track, as I‘m not entirely satisfied with it yet. However, time is tight, and with only a week at my disposal, I need to act quickly. This week‘s scale is C Lydian Dominant.

WAV52 | 44

This week, I delved into the Grain Delay filter of Ableton‘s Live 12. While the difference from last week again seems minimal, Grain Delay offers quite different possibilities compared to Filter Delay. I must admit that I haven't spent enough time exploring the full potential of the filter. In WAV52 | 45, I have only used the filter in seven out of ten track bars. However, most of my time is spent composing music. This weeks scale is C Super Locrian. And it seems that this scale is particularly used in jazz and fusion music for improvisation and composing.

WAV52 | 45

This week, I explored the audio filters of Ableton's Live 12, with a particular focus on Overdrive and Phaser-Flanger. When using Overdrive, I intentionally opted for a sparse application, keeping the effects subtle and maintaining the dynamics of the tracks. I integrated the Phaser-Flanger into nearly all tracks of the ten instruments used. By keeping the rate as low as possible, I created an extremely gradual and organic transition in sound. This week's scale is the 8-Tone Spanish.

WAV52 | 46

This week, I delved into Ableton‘s Live 12 Audio Filter Roar. It‘s very interesting what you can achieve with it. Initially, I applied Roar to all ten of my MIDI tracks, but eventually, I removed it from three tracks because the sound didn‘t improve. It seems that Roar isn‘t equally effective on every MIDI track, but I might be mistaken. To fully focus on the filter, I used the MIDI tracks from WAV52 | 46, which ultimately led to a different composition. This week‘s scale is also C 8-Tone Spanish, like the previous week.

WAV52 | 47

This week, I delved back into Ableton Live 12‘s Roar Audio Filter. While I found it challenging the last time, my experience with it went much smoother this time around. I‘ve learned that it‘s crucial to use Roar sparingly; certain settings can create significant distortions in sound quality.

I tried to minimize these distortions, but I also realized that they can yield fascinating sounds. It‘s all about finding the right balance. Roar requires a bit more learning time compared to other audio filters, which is definitely noticeable in the process. During WAV52 | 48 I utilized the C Bhairav scale.

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WAV52 | 49 | Weekly Audio Ventures

This week, I delved into the audio filters of Ableton Live 12, focusing on Saturator and Shifter.

Saturator is a powerful tool that helps add that extra punch, character, and warmth to your sound. Although I didn’t fully utilize its capabilities, I tried to apply the effect purposefully. It was fascinating to discover how subtle adjustments could change the overall tone. However, I haven’t been able to explore the Color Curve Display and Color Filter Parameters yet, leaving room for future experimentation.

The Shifter is a pitch- and frequency-shifting effect that would have been ideal for adjusting several drum layers. The idea was to create unique sound effects with this tool. Unfortunately, I didn’t manage to apply it, meaning I missed some creative opportunities.

I think it might be better to focus on one audio filter per week. This will help me avoid producing half-finished work and allow me to dive deeper into the various features.

WAV52 | 49

This week, I delved into the Spectral Resonator of Ableton Live 12. This powerful audio filter utilizes spectral resonances and pitch harmonics to add a unique character to any audio source. Using the Spectral Resonator opens up a world of new possibilities. Honestly, I had to rein myself in, as I discovered several features I had overlooked while reviewing the Live 12 manual.

Due to the versatility and rich textures this tool offers, I’m considering incorporating the Spectral Resonator into my standard template. This could yield even more benefits for future projects. The track WAV52 | 50 utilizes the C Kumoi scale. This pentatonic scale, consisting of five notes, is commonly found in traditional Japanese music.

WAV52 | 50

This week, I‘ve been focusing intensively on Ableton Live‘s 12 Audio Filter: Auto Pan-Tremolo. Panning modulates the sound within the stereo field, while tremolo affects volume modulation.

Strangely enough, I‘ve primarily used the tremolo effect, likely because it had a more significant impact on the final sound. Panning simply shifts the sound to a different position in the stereo field, but perhaps there‘s more to panning than I realize.

WAV52 | 51 is in the key of the C Pelog Sefliser Scale. The term ‘Pelog’ refers to a specific seven-note scale that is prominent in gamelan music.

WAV52 | 51

In 2025, I created 52 music pieces. This has allowed me to delve into the use of Ableton Live, which is a valuable addition to my musical skills. This week, I focused primarily on exploring as many Audio Effects in Ableton Live 12 as possible.

I believe that EQ and compression are the most challenging but also technical aspects of my music production, especially during the final mix. This area requires even more attention from me in the coming year. Although I originally planned to concentrate on composition, I've realized that I can combine both aspects.

In 2026, I will continue to create a new music piece every week. WAV52 | 52 is in the key of C major.

WAV52 | 52

Analyzing Musical Structure 01

By the end of December 2025, I had thoroughly studied the possibilities of Ableton Live. I now have a reasonably good understanding of what is possible, but there are still some weak spots. In 2026, I will be working on strengthening these areas. For me, 2026 is all about the structure of my tracks, and I am aiming to maintain the pace of one track per week.

I started by exploring how a track is constructed and why it functions that way. First, I created a free track, which I then analyzed using five components that make up this track. Throughout the year, I will likely add more components, but this is the beginning.

In the middle of the illustration, I placed several components: Intro stands for the introduction, V for Verse, H for Hook, B for Break, and Outro* denotes the conclusion. Additionally, I labeled V1 as Verse 1, H1 as Hook 1, B1 as Break 1, and so on.

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