Ableton Live Tips and Tricks Part 5
Ableton Live Tips and Tricks Part 5
Ableton Live Tips and Tricks Part 5
Tricks
Tutorials
Lets make
some bass
On the disc
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Accompanying
project file included
on the DVD
Simpler sampler
Simpler is a very powerful sampler, although it has a
user-friendly interface. It makes it possible to build long,
sustaining notes by loop and crossfading short samples,
but on this occasion we dont need those controls. Lucky
us! Maybe well come back and use them later.
As I mention in the tutorial, its important to
resist the temptation to make a huge bass sound
right now. This is because we plan to add other
instruments, and sonically there wont be any room
for them if we have a bass sound thats riddled with
effects and covering a huge frequency range.
We use clip envelopes to create repetitive
movement of the Auto Filter controls; it makes our
bass sound a bit more evolving and interesting. It
depends on what genre youre working with, but
automated filters can be a huge factor in the mix. If
you dont like the restrictions and mouse-work of
drawing these envelopes, be aware that you can
record them in real time if youre using a
suitable hardware controller. Also I cant stress
enough the importance of unlinking clip
envelopes from the clip length. And remember:
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Open our example set, which follows on from last time. Load
an empty Instrument Rack into a new MIDI track. Drag the
clip square into the rack and itll automatically appear inside a
Simpler instrument.
Arm the track and play your keyboard to audition the sound, in a
low-ish range. Drag the clip sine into the racks drop area,
creating another chain. Now youll be playing both sounds together.
You might want to rename the chains now, for visual reference
Cmd-R. Good, now lets draw in some notes. Double-click in an
empty slot to create a new MIDI clip, as weve done before.
Refer to the screen shot. Its just E1 then D2 at 1.1.3 then E1 again
at 1.3, D2 at 1.3.3, and A2 at 1.4.3 and E1 at 1.4.4. Match the note
lengths to what you see in the picture.
Theres a bass sample in the drum kit; our bass clip leaves room
for that. But, find the controls for the bass note in the drum rack
and reduce the Release to 1.00 ms, shortening the note.
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While were shortening, set the Sines Sustain to -7dB. This makes
it shorter against the higher, square sound; when you play the
clip, it keeps the punchy low bass hit without cluttering up the mix.
Because were using short punchy notes for this, we dont have to
play with the other Simpler settings for loop/fade, release time,
and so on. Our samples are long enough that it wont matter.
We could add effects to each chain and use the Spread control to
make a monster bass sound, but it doesnt leave much room for
other sounds in the song if the bass is too big.
Lets raise the sine volume inside Simpler to 0dB Simpler and
Sampler always default to -12dB, I guess to protect us from
ourselves! You can keep tweaking the levels as you go on.
Lets add Auto Filter for some nice filter sweeps. Drag it right after
the rack so it applies to both chains and set the filter cutoff to
170Hz, and the Q (resonance) to 2.00.
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Sweep time. Inside the MIDI note editor, click the envelope arrow
and choose Auto Filter and Frequency from the pop-up choosers.
Click the Link button and type a value of 4 bars next to that.
Click the left end of the red dotted line in the editor to anchor it.
Drag the right end upwards to 1.50 Hz (Cmd-Click-Drag for finer
resolutions). Now the frequency changes as the clip plays.
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Lets edit the oscillators waveform by adding some energy to the third
harmonic. Play a note and drag up on the third column to about threequarters of the way up. Youll see the visual representation of the waveform
at the bottom right change slightly, and the sound becomes more organ-like.
Click operator B, set it to 0dB, and its attack time to 1.38 seconds.
This causes operator B to frequency modulate our sawtooth, with the
complexity of harmonics increasing as its amplitude level increases during
the attack stage. This gives us a filthy sweep, ideal for a grungy bass sound.
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Getting started
with the Novation
Launch Control
Weve been offering a fantastic Novation Launch Control as a special gift to subscribe to
MusicTech. If you have taken us up on the offer or are tempted to! heres a special tutorial
on using the Launch Control, written by our Ableton Live expert Martin Delaney
On the disc
Accompanying
project file included
on the DVD
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If youre running short of USB ports, you can connect via a hub.
I can tell you for sure the Launch Control works with Novations
own Audiohub 2x4 but then youd expect it to.
The Launch Control is plug and play you dont have to install any
drivers on Mac or PC, but it will be useful to download the free
Launch Control Editor software more on that later.
Now launch Live, and open the Preferences MIDI Sync tab.
Choose Launch Control from Control Surfaces at the top, and
from the Input and Output lists next to that. Close Preferences.
To get you off to a quick start, weve provided an Ableton Live set
to use for this tutorial. Its on our DVD, and its called Launch
Control (self-explanatory title alert) open it now.
Before starting, lets check the Launch Control has the correct
factory template loaded. Hold down the top right Factory button
and press the bottom left pad. There are other templates well
discuss them shortly.
Were in Lives Session View for this one. For now, use your mouse
to start some clips playing. This is a mix that needs work, and we
can use the Launch control to tweak it.
The volumes and pans are all over the place. No need to assign
any controls manually. Use the top row of knobs to adjust pans,
and the lower for volume. The pads toggle tracks on/off.
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We have two return tracks in our set. A contains Ping Pong Delay,
and B hosts a Reverb. To access the sends, press the down pad
to control Sends A and B with the knobs.
Live Intro has only two sends available, but the full version of Live
has 12. You can access all of your sends by simply using those up
and down buttons.
Dont worry about losing track of where you are. As you use the
Launch Controls knobs and buttons, the Status Bar at the bottom
of the screen lights yellow, giving you a helpful read-out.
In true Launchpad style, the pad LEDs light with one of three
colours. Yellow means theres a clip available on that pad, green
means the clip is playing, and red means youre recording into it.
Moving on to template three, the first two sets of four knobs from
each row, correspond to the first eight controls in your rack or
device. The other knobs remain freely assignable.
The down/up arrows select devices within the track, and the left/
right buttons select tracks. In this mode, the pads select further
banks of eight controllers, going deeper into the selected device.
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Those templates are worthy enough, but theres also that User
button. That gives us access to eight user templates, which we
can edit as we desire using the Launch Control Editor software
mentioned previously.
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Powered by
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putting it a little simply, but the point is that the sound you hear is dramatically
affected by the environment its in. Youve almost certainly experienced this:
think of the last time you were at church, or a massive concert hall. There is a
heavy reverb to the sound, which comes not only from the walls and floor and
ceiling, but also from the distances between them. Likewise, step into a cupboard
very quickly (go on, well wait) and say a few words. Chances are, your voice will
sound muffled and stripped of character.
These are not ideal conditions for music making. Its less important at the
actual production stage, when sound quality and balance take a backseat to
musical creativity. But when youre starting to mix, you want as little
environmental interference as possible. You need an accurate picture of whats
coming out of your speakers in order to make informed mix decisions. Plenty of
songs have been recorded in a cathedral, but very few have been mixed there.
Assuring that the environment you are in is as acoustically neutral as
possible is absolutely key. Lets have a look at how to make that happen.
Foam pit
Well operate on the principle that you have a room at home for your music
making. Furthermore, well operate on the principle that you can do things to
that room. If you are a renter, or otherwise unable to change the room too much,
this may not apply. That being said, its still worth reading, as it will help you
understand the principles of how noise treatment works.
Chances are youve got a room with regular furniture. A table, chair, maybe a
couch, perhaps a couple of bookshelves, too. Stand at the centre of the room, and
clap. Listen to what happens to the sound. Try to analyse where the echoes (or
reflections) come back at you from, and what they sound like. Dont worry if you
find this difficult its just a crude test, meant to illustrate that most rooms
dont treat sound that well.
There are a couple of things we can do to this room to make that sound better.
The first has nothing to do with acoustic treatment at all.
Its all about positioning. Every room will have a sweet spot, where the
sound is at its most honest. This can be quite difficult to find, but fortunately,
there is a very good general principle you can use. Assuming you operate at a
desk, set that desk up so that when you sit at it, youre facing one of the short
sides of the rectangle. Make sure you are at least three feet from the wall.
Now: your monitor speakers. Imagine that you and the speakers form a
triangle. It should be an equilateral triangle that is, one where all three angles
are equal. Dont worry about getting it too exact for now; just make sure that you
are roughly the same distance from the speakers as they are from each other. In
addition, try to arrange things so that your speakers are each the same distance
from the wall on either side. Even if you cant get it exactly right, or if your room
is a weird shape, dont worry. What were going to do next is to treat your room.
Look at your walls and ceiling. Right now, they are almost certainly flat.
Thats not good for sound waves, which will be reflected back into the room,
Tech terms
SOUND WAVE:
The way sound appears
in the environment, as
a pressure and
displacement wave
that travels through
air, as well as solids
and liquids.
STANDING WAVE:
What happens when
two sound waves get
trapped between two
flat surfaces facing
each other, common in
untreated rooms.
Causes unpleasant
artefacts in the sound.
ACOUSTIC FOAM:
A thick, dense,
open-celled foam
designed to attenuate
sound waves. Youll
want to invest in some
of this stuff.
BASS TRAP:
A piece of acoustic
foam of above-average
thickness, thats
designed to be placed
in corners to corral
errant low-frequency
sound waves.
Staple
4
Frame
1
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DIY style
Acoustic foam panels differ from other audio
equipment in one crucial way. You can actually make
your own without any specialist knowledge.
Were not going to go into the exact step-by-step
procedure here, as its relatively simple, especially if
youre a dab hand with DIY. What you need to do is
construct a solid wood frame. Cover one side of the
frame with fabric, making sure it fits tight around it
(you can staple-gun it into place). What youll need to
do then is fill the interior with a substance known as
Rockwool. This material, readily available from
hardware stores, is very sound absorbent, and is
easy to work with. Once youve filled the frame, all
you have to do is close the back we suggest using
another piece of fabric, perhaps with a wooden bar
placed across the middle of the frame to keep the
Rockwool in place. Congratulations: youve made an
acoustic panel. If you want more detailed
instructions, youll find hundreds of them online.
But how do you go about hanging these on the
wall and ceiling? Many companies sell an adhesive
spray that you can use to attach the foam directly to
the wall. Were going to speak from personal
experience here: avoid this stuff. Not only is one can
not sufficient to prove an entire room, but it doesnt
last very long, so your panels are in danger of falling
away. Despite that, the substance itself is absolute
murder to get off the wall.
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52
When layering beats, most of them wont go together. If two beats have
different rhythms, grooves and frequency content, theres not much you
can do about it! Finding two matching beats will take some trial and error in
auditioning, but it should be quicker to do than forcing two together.
Some beats go together easily. For example, a kick/snare loop gels with
a percussion loop the low-end of the kick, the impact of the snare
and the high-frequency rhythm of the percussion stay out of each others
way, and even enhance each other. You can enhance the effect with EQ.
But its more likely youll end up with a pair that almost goes together.
How can we make them work? Try some filtering of one or both layers
one high-pass, the other low-pass. This may help with chalk-and-cheese
layers, but its not a solution if youre trying to stick similar beats together.
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Layer In Phase
Layering anything can lead to
phase issues, and it can be
especially bad when it comes to
beats theyre whole tracks of
multiple instruments working
together. If the waveform of one
beat layer is heading upwards
while the others heading down,
they can cancel each other out
and you can end up with a
reduced impact of the hits and a
not-so-perfect stereo field.
The old-school way to try and
sort this was to invert the
polarity of one channel often
done for multi-micd sources
like guitar amps or snare drums.
It wasnt always guaranteed to
work, mind. There are some
software analysis tools to help
detect and/or fix phase issues
(like Sound Radix Pi), but if you
dont have the time to use an
Out Of Phase?
These two hits peaks
and troughs line up
as much as is
possible, especially
at the crucial
front-end impact.
Groove shadows
Sometimes, just adding reverb to a beat is
enough to give it the qualities you want; but
if youre after a different sort of atmosphere,
and your mix is begging for some extra
character, you can try using a heavily
reverbed signal from another beat
altogether. When placed very low in the mix
behind the main beat, this can be the
Line It Up
MeldaProductions
MMultiBandDynamics
is a powerful tool for
tweaking complex loops
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Groove Shadows
Heres how to liven up or add atmosphere to one beat by using the reverb signal
from another beat
INCLUDES VIDEO l
A groove shadow is a
heavily reverbed
signal from another
beat (or any sound
source) that sits
behind your main
beat. Well show you
the basics and the
most vital processors
youll get help from
if youre up for
making a groove
shadow. Check out
the video on the DVD
to hear and see it in
action. Try this one
next time youre
about to reach for a
reverb plug-in.
Set up one channel for your main beat, and another to create your
shadow. On the shadow channel, set up a reverb, fully Wet, and bring
the level down. Audition shadow beats alongside the main beat and see
what catches your attention. You dont even have to use a beat; get creative.
Lets get the beat and its shadow sounding better together.
Pitchshifting the shadow reverb signal up or down can give it energy
where it didnt have it before. Choose whether to match the main beat or to
separate beat and shadow, depending on the effect youre after.
Gating the shadow can provide a bit more rhythm. Set up a large
reduction amount, a quick attack and crank the Hold up. Getting
the Threshold setting just right is crucial if youre auditioning a lot of
different candidates.
Try throwing some effects on the shadow signal to push it even further.
Modulation effects such as chorus, phasing and flanging are one way
to go, as is distortion, or any other creative effect.
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Band Processing
Use multiband processors to make easy work of whole loops, or set up your own
multiband or single-band signal chains
INCLUDES VIDEO l
When it comes to
quick processing of
full-band tracks,
getting good (and
fast) with multiband
processing will help
you out. Well look at
some common
multiband effects,
and show you how to
make your own.
Then, well do a
fly-by of a rough n
ready one-band
processor, perfect for
adding an effect to a
select band of the
spectrum in a busy
mix (see below for a
more in-depth
explanation). As
usual, check it out
in the video
version, too.
To get even more custom processing done, you can create your own
multiband devices by setting up some clever signal routing. Bypassing
the processing of multiband devices and only using their crossovers, on
returns, new tracks or rack chains, lets you add your own effect to any band.
But there are plenty of other multiband processors too distortion and
saturation might work better applied to different bands by different
amounts, just like the response of well-driven analogue tape; and all sorts of
other multiband effects like modulation, delays and reverbs.
You can make your own single band isolator to process a specific part
of the frequency spectrum. This could be useful for de-essing duties
(using a standard compressor), or collapsing the stereo field to mono in the
bass region, for example. Watch the video or see below to find out how.
Band Caveats
To make a single-band
processor, duplicate the track
twice, filtering both the
duplicates with the exact same
settings, and phase inverting
one of them. The non-inverted
track should now control the
band youve filtered off, which
will be missing from the original
track when combined with the
phase-inverted copy. You can
use return tracks or channels
instead of track duplicates,
depending on your DAW. You
can continue the process to
arrive at a multiband set-up.
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DIY One-Band
Processing
Heres a quick and
dirty method for
isolating one band
for processing. The
original track is
copied twice.
Duplicated Waves
Both duplicates are
filtered, and one is
phase inverted to
cancel out that band
in the original track.
On the disc
Accompanying
project file included
on the DVD
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Be sure to use our updated example set for this tutorial. Ive
added a new sample, synth note. This is a synth playing a long C
note (sampled from the Waldorf Pulse Plus hardware synth).
This should sound familiar, because weve done this step before
when we made our bass part. Click the Dupl.Loop button in the
MIDI Editors Notes box twice, creating an empty 4-bar MIDI clip.
When you arm your track and play your MIDI keyboard, you should
be hearing the sampled synth tone playing across the range. We
used a C so itll be correctly in pitch with other instruments.
Draw an E4 note across the entire length of the clip - launch the
clip and then itll play just like a drone over four bars. Keep the
velocity to around 100 or 110 it doesnt matter precisely.
To edit the note velocity, unfold the MIDI Velocity Editor (click on
the little triangle) below the MIDI Note Editor, then drag the
velocity marker up or down until you reach the desired range.
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Now lets add some interest: because weve been lazy with our
programming, lets expand the part with one of Lives MIDI effect
devices. Add the Chord MIDI effect to the track, itll go before Simpler.
Set the Chord devices first two Shift control knobs to +3 and +5
semitones. As the clip loops or as you play your keyboard, youll
hear the extra notes. Set Simplers Spread to 50.
The extra notes make it sound very full too full, in fact. So drag
an EQ Three audio effect to the end of the chain and set the
GainMid to -12dB. This thins it out nicely.
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If you can only solo one item at a time, check your Record/Warp/
Launch Preferences and make sure Exclusive Solo is off.
Otherwise, temporarily override the preference setting by CmdClicking on each item.
Click on your copied drum track and use Cmd-R or the Context
Menu to rename the track Sidechain, then load the Compressor
Brick Wall preset into your keyboard track after the EQ Three.
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A BLUFFERS
GUIDE TO MIDI
Get your head round MIDI and youve got your head round music
production. Rob Boffard explains the ins and outs
Powered by
MIDI Magic
Musical Instrument Digital Interface: thats what MIDI stands for. We dont
really want to go in-depth into its history (theres plenty online if youd like to
find out more) this is a Bluffers Guide, after all but what you need to know is
that it came to fruition in the early 1980s as part of a collaboration between
engineers Dave Smith and Chet Wood, and several synthesiser companies such as
Korg, Moog and Roland. Smith and Wood initiated this, because the market had
just got far too complicated. There were too many protocols, and too many
devices, and it was becoming increasingly difficult for them to talk to each other.
MIDI was the solution.
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Up a level
But of course, MIDI programming is a lot more complex than simple instructions
for an instrument to play a note.
Lets start with one of the most common ways of treating a MIDI note:
velocity. If you hit a piano key hard, the sound it plays will be much louder than
if you just pushed it down gently. MIDI has the same principle encoded in it. The
higher the velocity, the louder the note. The advantage of this is that you can
tweak the volumes of individual notes on a particular track, instead of having to
automate the track fader.
Velocity gives you a hugely versatile way of controlling your sound. You could,
for example, set your instrument to only trigger certain effects at certain
velocities. Try doing this with a filter that has the MIDI velocity as its source,
and get it to activate only when the velocity crosses a certain threshold. Velocity
is usually measured from 0 to 127, so its easy to set an exact value for it. This
particular trick has endless applications. One we really like is setting different
samples to trigger at different velocities, which can really bring some life to a
track. At this point, we need to stress that not all techniques will be available on
all instruments, and its crucial that you spend time getting to know your
favoured software instruments before playing around with this.
There are other ways of controlling the character of a MIDI note, but they are
largely restricted to the software instruments themselves. You can apply
envelopes to the notes, changing their attack, decay, sustain and release settings.
You can apply filters to them. Some DAWs even let you adjust the fine pitch of
CONTROLLER: a
device thats used to
input and sequence
MIDI notes. Usually
this is a keyboard, or
set of pads.
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Fine tuning
There are a few advanced applications of MIDI that
you can use once youve got the hang of things. Were
going to go into a few of them now, although were
Here, we are adjusting the notes velocity. This will control its perceived loudness.
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Recording and
manipulating
speech samples
Time to do some audio recording and get micd up.
Martin Delaney shows you how to add some
speech samples to our ongoing Live project.
On the disc
Accompanying
project file included
on the DVD
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Open our example Live set. Make sure youre using the updated
part 6 version and use the shortcut Cmd-T to create a new audio
track. Were still working in the Session View, of course.
Use Alt-Cmd-I to open the In/Out View. This will display the audio
routing options at the bottom of your tracks. Click on the Audio
From chooser to select your input Ext. In.
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Set the tracks Monitor In switch to Auto, and arm the track
click the small circular button in the mixer, it goes red. Stop your
other clips youre not singing along to anything for this one!
As you arm/disarm the track for recording youll see the square
stop buttons in each empty Session View clip slot (in that track)
transform into circles; that means you can record into these.
Press the space bar to stop Live when youre finished. Note the
clip length is cropped to the nearest bar. Disarm the track so you
cant record anything else by mistake and always save after recording.
Before you launch your other clips again, listen to your voice
recording on its own, checking for distortion and also checking
that you havent chopped the start or end off as its very easy to do.
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The Loop Brace is that bar above the audio waveform. You can
drag to reposition it and grab either end to change the length. FYI
the Loop Brace dimensions and coordinates are MIDI-mappable.
Select the first clip. From the Sample View at the bottom of the
screen, deactivate Warp so itll play just once at its original
speed. Now you have a one-shot, plus a looping version.
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caution and recorded at a low level, use the clip Gain slider
to boost the volume. Do this while the clips playing, so you
can check for the distortion that arises if you go too far!
Were touching on Warping and audio quantization
during our walkthrough; its fun to over-stretch audio
samples and tweak the Warp modes; I cant resist it with
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INSTANT
DOWNLOAD
Grab all the videos and get
the files to do it yourself at
vault.computermusic.co.uk
DOWNLOAD
Get all the videos and tutorial
files on your PC/Mac at
vault.computermusic.co.uk
20 Track
Starting
Tactics
Struggling to get rolling on
a new track? Here are 20
inspirational ideas to give
you the jumpstart you need
Picture the scene. Youve set aside a chunk
of time for music-making, your other half/
kids/dog/phone are all locked out of the studio,
and youre finally sitting down at the computer,
bursting with enthusiasm. Its the moment
youve been building up to for days: its time to
get a new track underway! Visions of label
interest, Beatport No.1s and A-list DJ-play briefly
flash through your mind as you fire up the DAW.
You have a good feeling about this one after
all, youve spent sufficient time and effort
learning the right tools and techniques, so why
cant this be your best track yet?
Yet, when greeted with an empty arrange
page, its almost impossible to transfer that
enthusiasm into anything resembling a good
idea. Every sample you audition is greeted with
01
Start with a
soundscape
02
Remix
yourself
04
MIDI
trickster
05
Spoken
vocal
06
Drums to
melody
07
10
Deliberate
accidents
08
The sounds
around
09
Stack em and
pick em
Try randomising the individual modules of your plugins, one by one, until you come to something fresh
19. RESTRUCTURE
Step away from regular eight-bar structures,
choosing a different cycle length, then write a
melody to match. Start with a simple ten- or
12-bar structure, or try seven, nine, 11 or 13
bars for more interest. Or go all-out and
experiment with odd time signatures and
unfamiliar scales.
Many of our VIP Series artists use the sounds in their own tracks so why not make your own sample packs?
10 workflow accelerators
Try and comprehend the full music-making power, convenience and
potential of the modern computer. Mind-bending, isnt it? But with more
options comes more choice, and an abundance of choice can be
overwhelming. Too many variables and decisions to make can sap your
creativity, disrupt your studio flow, and kill off your productivity. So, to
prevent you getting bogged down in technicalities, battling DAW options, or
generally doing things the hard way, weve put together ten key tips to help you
release and realise your musical ideas quicker than ever.
01
MIX AS YOU GO
03
02
RTFM!
PREPARATION IS KEY
04
05
Like many DAWs, Cubase lets you save common template setups as starting points, saving you tons of time
DISABLE DISTRACTION
06
KEYBOARD
SHORTCUTS
07
SITTING
COMFORTABLY?
08
TIME TO TIDY
Compare your track to commercial releases early on visual analysis tools can really help with this
09
10
QUALITY SAMPLES
10
Easy
Music
Theory
Tips
Spruce up your chords and
snazz up those scales with
our ten simple methods
Music theory has always had a slight whiff of
the uncool about it, conjuring up images of
dry, dusty, bewigged baroque musicians from
centuries past, the nightmare of childhood
piano lessons, or baffling overheard discussions
in jazz clubs concerning the superiority of
augmented 13ths over Neapolitan sixths or the
joys of soloing in the Mixolydian mode. This bad
rep is entirely unjustified however, since
regardless of whether youre a composer,
songwriter, producer or DJ, shoring up your
musical knowledge with a smattering of
grassroots theory can have a profound effect
on the quality of your output.
Here at
, we never underestimate the
importance of a good grounding in music
theory hence our long-running regular Easy
Guide feature found in every issue. After all,
how music actually works is the key to
01
Broken
chords
02
Animating chords
with inversions
04
New flavours
with modes
05
Monotony
rules
06
Borrowed
chords
07
10
Layer chords
together
Go pentatonic
08
Take some
giant leaps
09
Build an
extension
10 arrangement methods
In our Creative Concepts articles,
Features Editor Joe Rossitter has
often discussed the notorious loop land that all producers find
themselves in from time to time. Its relatively easy to lay down a few
decent ideas, but turning them into fully-fledged arrangements is,
arguably, the hardest part of music production. If youve got a hard drive
full of cool 16-bar loops crying out to be assembled into songs, then read on for ten
loop-busting arrangement approaches that you can put into practice right away.
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02
TWOS COMPANY
03
COPYCAT
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05
Scrutinise a well-structured commercial track and nab its arrangement just make sure you use your own music!
DUB IT LIVE
Back in
209, we explored the
modular mindset, which involves
recording long passages of synth/
effects tweaking live to audio, then selecting the
best bits to chop up onto the timeline. This will
help prevent endless tweaking of live plugins,
forcing you to commit to audio via a dedicated
record channel, freeze and flatten feature, or
bounce in place. By responding and reacting to
your track in a live fashion, youll often end up
with cool FX and transitions that make your
arrangement seem more natural and flowing.
06
SEND/RETURN
TRACKS
07
To create an arrangement, duplicate the main groove through the track (as above), then strip bits away (as below)
08
CLICH CLUB
09
10
Get your guilty pleasures from audience-pleasing
chlichs like snare rolls, crashes and white noise sweeps
SUBTRACTIVE ARRANGING
SWITCHED OUT
Track-Finishing
Checklist
Dont call it finished until youve ticked off these ten simple pointers
Clear out the clutter
Check it in mono
Kick/bass relationship
Listen to transitions
Working with
audio effects
On the disc
Accompanying
project file included
on the DVD
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Alternately you can use your mouse to drag the effect across to
the target track. Were going to use a combination of some factory
presets and our own tweaks to the vanilla default settings.
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On the voice track, add EQ Three and click the L switch, killing the
low frequencies. Then add the Vinyl Distortion/Awfull preset
youll hear it does a funny pitch thing as well as adding grunge.
Effects can be toggled on and off with the Power buttons left of
their names. You can remove an effect from a track using your
Delete key, and they can be copied and pasted.
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Create two Return tracks, adding one effect to each Ping Pong
Delay on A, and Reverb/Large Hall on B. Set their Dry/Wet
controls to 100%. Well use the Sends to mix the levels instead.
Set the keyboard and vocal track sends A to around 3 oclock and
12 oclock respectively. You can see the dB values displayed in the
status bar at the bottom of the screen.
Send the tracks to the reverb effect on Send B. Try it like this:
drums -19 dB, percussion -9, bass -53, keys -9, voice -9. Set the
percussion A Send to -10 dB while youre there.
Lets add Beat Repeat, set like this: Interval 1/4, Grid 1/16,
Variation 5, Pitch -12, Pitch Delay 100%, turn on Ins. Practice
turning it on and off; you wont want this on continuously.
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FM | PRODUCERS GUIDE
Ableton Push
Part 1: Push Essentials
57
Push In Use
The Push user experience begins
with the Browser: hit the Browse
button, then use the top encoders,
buttons and screen to peruse and
load one of Lives instruments,
effects or preset Racks although
third-party plug-ins must all be
wrapped and mapped ahead of time
into Lives Rack format if you want to
fully browse and control them with
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TIPS
Punching a Drum
Rack pad selects
that pad for
editing, but it also
triggers the sound. If
youre recording, hold
Select and hit a pad to
select sounds silently.
Several buttons
(eg Accent, Note
and Session)
feature a hold
modifier. Press the
Repeat button to
toggle the effect on, or
hold it down to punch
it in and out on the fly.
When in Drum
Rack mode, Live
9.2 users can
hit Note to switch to
64-pad view perfect
for, say, auditioning the
multiple sections of a
sliced loop.
Fully integrate
your favourite
third-party
plug-ins, effect chains
and presets into the
Push workflow by
saving them into Live
9s Library as Racks.
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On the disc
Build a musical
structure in real-time
and capture it to the
Arrangement View
Accompanying
project file included
on the DVD
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You already know about clips; now were using scenes as well. A
scene is a horizontal row of clips, across any number of tracks.
We trigger scenes with the Launch button in the Master Track.
Should you need more empty scenes, use Cmd>I. However, this
way of building scenes is not very spontaneous theres a better
way. Click the Stop Clips button in the Master Track. Launch your beat.
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in the Master track, and you can also delete or copy them
from there. You can use the Context Menu to rename and
colour-code your scenes. Renaming is interesting as well
as helping you label your song sections, it gives you a way
to make more dynamics changes. You can use scene
names to tell Live to change project tempo and time
signature throughout your set. This is good for small tempo
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Get it? Keep going until you have made six scenes in total. Choose
any combinations of clips that sound good to you. After that, use
the Context Menu to rename and colour-code your scenes.
Rename a scene with a BPM value, like 121 bpm, and Lives
tempo changes to that BPM when the scenes launched. Time
signatures work too, or both together i.e. name a clip 5/4 121 bpm.
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You can stop clips by launching others in the same track with the
Stop buttons, or by putting them into Toggle Mode if youre using
hardware, so they go on and off when tapped a second time.
Feel free to experiment while recording. You can even drop in new
devices during recording, and Live wont flinch. Use the Overview
(Alt>Cmd>O) for a heads-up of what your tracks are doing.
You can also use your Tab key to switch between Views, again,
while still recording. You can watch everything drawing into the
timeline, including automation. There are no rules about how long to
play thats up to you.
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MT Feature 6 Ways To
6 WAYS TO
GET INSPIRED
W
Capture it
Get out
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Show up
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Collaborate
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Editing your
composition in the
Arrangement View
On the disc
Accompanying
project file included
on the DVD
disc, which includes all of the steps from the last tutorial.
(Theres a good chance weve started to diverge as weve
made different recordings, so these walkthrough steps
might not make sense unless you use our example set.)
When youre working with a lot of tracks, you will need
to manage your screen space. Folding and unfolding them
helps, and you can zoom in and out, but you can also
expand individual tracks by mousing over the bottom of
the track and dragging downwards. If you hold Alt at the
same time you can expand all your tracks simultaneously.
Editing automation is easy in Live just click to add or
remove breakpoints. Mouse near an envelope so it turns
blue, then you can drag it around, or copy and paste it,
delete it, whatever you want to do. Hold down Alt while you
do this, and you can draw curves as well as straight lines.
FOCUS ON MONITORS
You can get quite a long way into the composition and production process without high quality
monitoring - Im sure many of us begin sketching out tunes on mobile devices or laptops, where were
either listening on tiny built-in speakers, or on cheap headphones. As you progress towards finishing
your track, though, you need to hear whats going on more clearly, and across a wide frequency range.
You will need some high-quality monitoring headphones, and some monitor speakers as well. You cant
be applying critical processes like equalisation and compression when you cant really hear what
effect theyre having.
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Tap the Space bar or the Play button, to hear the recorded
arrangement. If any of the tracks are greyed out, use the Back To
Arrangement button to restore them read more in the main text.
Also be aware that if you now pop back to the Session View and
launch any clips, they will affect the arrangement playback, so
avoid that unless its really what you really want to do!
You can also zoom using the + or - keys. Manage vertical space
by folding tracks click the small triangle at the end of the track.
Hold Option/Alt and every track unfold/folds simultaneously.
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Sometimes you need to dig to find the envelope. Click the lower
chooser, and youll see Track Volume listed, with a red dot. Select
that, and youre looking at the track volume automation, in red.
Lets automate the bass tracks filter. Unfold the track so you see
the automation for Auto Filter/Resonance. Use single-clicks to
delete each breakpoint between bars 46 and 54.
Unfold the Frequency lane and do the same there. What this does
is create a unique longer filter sweep for that part of the song.
Fold the track afterwards if you want to be tidy.
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Double-click the first MIDI drum clip, revealing the notes. Drag
the notes for slices 1 and 9 vertically to align with Slice 5. Now
theyll all play the same sound, without the noisy sample.
The second section, starting at bar 37, is 5 bars long; lets remove
one, just to keep everything even; click and drag to highlight bar
45, then use Shift>Cmd>Delete to delete the time.
Likewise, cut out bars 9, and 33-35. After that, click and drag to
highlight bar 16, and tap the Delete key. Drag the ends of the
percussion and bass tracks to fill the gap.
Cut the last long section to 24 bars. Make a 2-bar break at bar 65.
Drag the percussion and bass across, but also drag the beat back
two beats so it resumes earlier.
Unfold the bass track. Click and drag from the start of bar 55 for 2
beats. Copy with Cmd>C. Paste with Cmd>V at bar 53 and 54.
Check out the automation!
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TOOLS OF THE
TRADE
Back in the days of magnetic tape,
there was one way to edit: you got a
scalpel, sliced that tape up good,
then stuck it back together. All very
hands-on, but it must have taken an
age compared to the practically
instantaneous results delivered in the
digital realm. Whats more, in a DAW
you can change the tempo of a track
without affecting its pitch, and vice
versa tremendously useful for
creating mashups. This is known as
time-stretching, or warping.
Most DAWs will automatically
warp the audio for you, making
editing even speedier and presenting
us with all kinds of possibilities for
mashups. In fact, most DAWs use the
same family of time-stretching and
pitchshifting algorithms, zplanes
lastique Pro, including Ableton Live
9 and PreSonus Studio One 3. These
DAWs implement zplanes algorithms
in different ways, and offer disparate
With its Warp capabilities and swift workflow, Ableton Live is a smart choice for creating edits
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DOS &
DONTS
DO
DONT go overboard
DO
GOTTA KEEP EM
SEPARATED
A common question asked by
newcomers to the world of music
production is how do I extract a
tracks vocal?. It is indeed possible
to isolate a piece of musics
elements, but you will experience
various degrees of success depending
on the nature of the source material
and the techniques used.
The trouble with vocals is that
they occupy such a wide frequency
range that EQing isnt usually a
viable option. Specialised audio
isolation software does exist, for
instance Sonys SpectraLayers Pro 3,
but these are aimed at high-end
users such as movie studios, and are
priced accordingly. Whats more,
theyre time-consuming to use, so
theyre not a practical solution for
most of us.
A relatively cheap and reliable
way to obtain an isolated vocal is
to get your hands on an acapella
Specialist applications can help extract a vocal, but these tend to be expensive and time consuming
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FM | PRODUCERS GUIDE
Ableton Push
Push Preparation
An efficient Push workflow requires a certain
amount of pre-preparation, so we asked Abletons
Jesse Terry for a hefty helping of expert advice
FM: Firstly, whats your role in the
development of Push?
JT: Im the Product Owner for Push,
which means I define the vision for
the product, and try to translate this
vision along with a really talented
team of designers and developers.
How should users organise sounds,
sample libraries and Racks for use
with Push? Are there considerations
when building Racks and devices?
If you want to have a set of device
parameters that are specific to your
workflow, make your own Instrument
and Effect Racks in Live, then save
these presets. Take note of where you
want the most important parameters
to be obviously the 1st and 8th
encoders are the easiest to grab
quickly in a performance scenario.
When you save presets to Lives
library, move them to the right folders
for instance, if you make a reverb
Have a good
strategy for your
User files, called
Places in Live
For VSTs and AUs, Live has a
configure button, which allows you
to rearrange the parameters of your
effects and instruments. This is a
great way to make sure your top eight
favourite parameters show up when
you load a particular plug-in, but you
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QUICK
TIPS
nativeKontrols
free ClyphX is a
MIDI Remote
Script that allows
you to save Pushs
current key and scale
settings within a clip.
Download the script at
http://bit.ly/ClyphX
Create quick
loop variations
when working
with the step
sequencer: use the
Double button to copy
your current clips
contents over, make a
few variations, then
tap on the loop length
pads to jump the loop
markers throughout
the clip on the fly.
When in Session
Mode, to see a
scenes name
appear on the display,
hold Select and tap
that scenes Scene/
Grid button.
Navigating clips
and scenes with
Session Mode
03 >
01 >
04 >
02 >
05 >
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How to
Become A
Push Ninja
How to
Use A
Footswitch
With Push
>
How to
>
How to
Controlling
Hardware
Incorporate
Velocity And
Aftertouch
Effectively
Pimp Up Pushs
Functionality
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04 >
01 >
05 >
02 >
06 >
03 >
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Getsomevideoin
yourLiveset
Accompanying
project file included
on the DVD
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Start by opening your Live set from last time or, if you prefer, use
the up-to-date version supplied with this issue of MusicTech. Ill
be referring to that version throughout the tutorial.
If you look closely, youll see the clip has little movie frames along
the edges to differentiate it. Live should have opened the Video
Window automatically. If not, use Alt>Cmd>V to show it.
Remember I said its like an audio clip? Go to the end of the movie
clip, and drag the end back so the clip is exactly 8 bars long we
can sync video cuts to our beats.
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Now go into the Sample box and turn on Warp and Loop. Grab the
end of the movie clip and drag it out so it loops to fit the entire
length of the song.
This all makes more sense if you have a second display or video
projector connected. Drag the video window to the display/
projector window, then double click it again for full screen video.
Now play through that section. Youll see that the video in the
lower track takes priority. Thats how it always works with video
tracks in Live. Hmm, this is getting to be like video editing!
Double click it to see the audio waveform its some speech. Try
dropping Lives Ping Pong Delay on that track, set the dry/wet to
whatever sounds good to you. We can process movie audio!
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cant handle video in Session View. But its not all bad itll
give you a chance to ditch the video content but retain the
audio which is a fast way to extract audio samples from
movies! If you really need video coming out of the Session
View, itll have to be via Max For Live devices like the ones I
mentioned earlier.
Warp and loop the second instance of the clip. Add a Warp Marker
to the end of the clip. Drag that left until it reaches the end of bar
1. Shorten the loop brace to one bar.
Now play that section. Not only have you made the audio play
faster, youve made the video loop and play faster with it isnt
that cool? This is an awesome Live feature! So much fun
With these techniques, you can use Live as a basic movie editor,
and the video warping is a nice extra trick.You can even warp
silent movies by placing warp markers on the clips flatline waveform.
Be aware that if you execute the Collect All And Save command,
the movie clips will be collected as well as the audio, so you will
get larger than usual Live projects.
To render the movie with audio, open the Export Audio/Video, and
make sure video is switched on.There are many available export
formats; what options you see will depend on your computer and OS.
See more in our main text about video formats. As far as more
detailed audio rendering goes, well be talking about the more
final stages of finishing and exporting your completed tunes next time.
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