ABLETON LIVE: PRODUCER
ONLINE HUB
Welcome! Here you will find course materials, recordings of sessions, resources and more.
This page will be updated each week so keep it bookmarked.
Welcome!
A very warm welcome to this online version of our hugely popular Ableton Live: Producer course! We're very happy to have you on board and look forward to working with you over the coming weeks and months to improve your music production abilities.
This course will take you deeper into all the magic that Ableton has to offer, diving into a different topic each week to build your skills over the 9 sessions of the course.
This page will be your 'hub' where you'll be able to access class recordings, resources, notes, and more.
Please bookmark it for future reference.
Zoom Link
Our sessions will be 3pm - 5pm GMT on Thursdays starting 23rd January. There's a week off on 20th February to practice and consolidate your knowldge. Please click here to open Zoom when it's time for our weekly session.
Downloads
This sections contains useful downloads for the course. We've put together a package of projects, samples, VSTs and more that you can download to support the course. We will also provide additional content as the course progresses so keep an eye out for that!
Download Here!Forum
Please register for our student forum and we will add you to a private thread for our class. This will allow us to chat, ask questions and get help in between sessions!
Please follow these steps:
- Access the forum here - please bookmark this page!
- Click Sign Up
- Use your name as your username, such as: SimonStokes
- Choose a password
- Use invite code ALUMNI
Schedule
Our schedule for this course is as follows:
Session 1: Compression Masterclass
Session 2: The Joy of Racks
Session 3: Sound Design: Operator & FM Synthesis
Session 4: Sound Design: Operator & Advanced Sound Design
Week Off – Practice Week
Session 5: Audio Creation & Destruction
Session 6: Further Mangling & Arrangement Techniques
Session 7: DJing & Live Performance with Ableton Live
Session 8: Max for Live & Further Synthesis Models
Session 9: Listening and Feedback Session
Drop In Sessions
We have decided to add an additional two hour session per week for you, in the form of a casual drop-in session. These are optional, feel free to attend all, some or none of them as your schedule permits!
Hosted by Ana, every Monday from 3-5 PM, you're welcome to join to chat and ask questions.
These are intended to be laid-back and a chance to connect with fellow producers outside the Friday online classes. Feel free to drop in to ask any questions you have about the course content, share your music, show a new fun tool you've been using, share tips and tricks, or just get some motivation to try out what you're learning in the course in a relaxed setting.
Drop in to the session here:
https://us02web.zoom.us/j/88523285252
These will run every Monday until the course ends!
3pm - 5pm GMT
Uploading Files
Often it will be handy to upload s
ome files to use in the drop-in sessions. When jamming together, it's best to export / submit an analysis file as well as a .wav file:
- When exporting, make sure 'Create Analysis File' is turned on
- Export a .wav file
- Submit both of these below!
Compression Masterclass
AI Summary (may be inaccurate, for entertainment only)
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| Quick recap | ||
| Simon and Ana led a discussion on technical issues with video calls and introduced a 10-week course on Ableton Live, covering various topics in music production. They also led an icebreaker session, discussed music preferences and production journeys, and focused on the use of compressors in music production. The team was encouraged to practice over the weekend and join the upcoming session on Monday, with Simon emphasizing the importance of understanding and using compression techniques delicately to enhance project dynamics. | ||
| Next steps | ||
| • All participants to practice using compressors over the weekend, focusing on gain matching and listening for transient dynamics. | ||
| • All participants to join the online Forum for communication and sharing music. | ||
| • All participants to try removing and re-adding compressors in their existing projects with updated knowledge. | ||
| • Simon to set up the Forum. | ||
| • Simon to upload the recording of the session as soon as possible. | ||
| • Anna to run a drop-in session on Monday at 3-5 PM UK time for further practice and questions on compression. | ||
| • All participants to try attending Anna's Monday drop-in session if available. | ||
| • All participants to prepare a track using compression techniques for sharing in future sessions. | ||
| Summary | ||
| Video Call Technical Issues Discussed | ||
| Simon and Ana discussed technical issues with their video calls, including blurry faces and audio problems. They also checked in with other participants, including Y in Bangkok, DJ in Maryland, Peter in Stoke-on-Trent, England, Jesse in Glasgow, and David in Amsterdam. The team was preparing for a meeting, with Simon recording the session and Ana ready to share her screen. They also discussed the upcoming red storm warning in Glasgow and the potential for power cuts. The meeting was set to begin soon, with Pedro and Steven expected to join from La and New Zealand, respectively. | ||
| Ableton Live Course and Music Production | ||
| Simon Stokes, an Ableton certified trainer with over 20 years of experience in music production, introduced a 10-week course on Ableton Live. The course, which started in October, covers various topics such as compression, building layered instruments, sound design, audio manipulation, live performance, and Max for Live. Simon also mentioned that he would be available for any questions or issues related to Ableton Live or music production. Ana, the teaching assistant, shared her experience in music production and her interest in collaboration and experimentation. She also mentioned that the course includes informal catch-up sessions on Mondays, where participants can ask questions, share resources, and work on challenges related to the course material. | ||
| Icebreaker Session and Group Preferences | ||
| In the meeting, Ana led an icebreaker session using the platform Mentimeter. Participants were asked to share their current location and where they would rather be. The majority of the group was based in the UK, with a few members in Australia and Thailand. The group also discussed their recent activities, with Peter mentioning his enjoyment of playing guitar and DJ sharing his experience of the cycling event in Australia. The group also discussed their preferences for music and food, with Ana sharing her recent love for Mac and cheese. The conversation ended with a discussion about the upcoming Celtic Connections festival in Glasgow. | ||
| Music Preferences and Production Journeys | ||
| Ana led a discussion about music preferences and production journeys among the participants. DJ shared his interest in old school house music and his journey through various genres, settling on house music. Yannick expressed his interest in blending club music with storytelling and his early days of music production. Peter shared his background in punk and electronic music, and his recent interest in experimental and industrial music. David discussed his journey into electronic music and his interest in modern trance. Simon emphasized the importance of workflow in music production and the potential for exploring different genres. The group also discussed the possibility of sharing music links through a forum for further interaction. | ||
| Improving Workflow and Creative Balance | ||
| In the meeting, David expressed his struggle with completing tracks due to his tendency to change ideas frequently, which led to a lengthy process. Ana and Simon suggested that improving workflow and focusing on the creative stage of track production could help. Jesse shared his broad musical interests and his goal of creating music that he's happy with, emphasizing the importance of a consistent sound. Pedro, who has experience in cabaret and standards, mentioned his inspiration from DJs and his struggle with finishing tracks. Ana and Simon discussed the challenges of electronic music production, emphasizing the need for a balance between creativity and technical skills. The team agreed to focus on working fast and creatively throughout the course. | ||
| Compressors in Music Production Explained | ||
| Simon led a discussion on the use of compressors in music production, emphasizing their role in controlling dynamic range and maintaining a balanced mix. He explained that compressors work by reducing the amplitude of louder sounds, thus bringing them closer to quieter sounds in terms of level. Simon also highlighted the importance of understanding the side effects of compression, such as the perception of a compressed signal as louder than an uncompressed one due to its higher average level. He demonstrated this using a drum loop, showing how the compressed version had a lower peak level but a higher average level. Simon also introduced a project called "Using Compression" for further practical exploration. | ||
| Compression Techniques in Audio Production | ||
| Simon led a discussion on the use of compression in audio production, emphasizing the importance of understanding the compressor's controls, particularly the threshold, attack, and ratio. He explained that the makeup gain button should be turned off to accurately hear the compressor's effect on the sound. Simon also demonstrated how to use a compressor to control the dynamic range of a vocal, using a ratio of 2:1 to reduce the level by a factor of 2 when the vocalist sings louder. He encouraged the participants to practice using these techniques in their own projects. | ||
| Compressors in Music Production Explained | ||
| Simon discussed the use of compressors in music production, explaining that they are used to control the dynamics of sounds, particularly in electronic music. He demonstrated how to use a compressor to level out a synthesizer part, and how it can be used to unify different percussion elements into a single unit. Simon also explained the difference between a compressor and a limiter, and how to use a compressor to control the transience of sounds. He further discussed the various ways to use a compressor, including to glue together different elements of a mix. Simon also addressed a question from Peter about the difference between using a compressor to level out a vocal and cutting individual parts of the vocal down in level. He concluded by explaining the difference between the regular compressor and the "glue" compressor, which emulates an old analog compressor and reacts slightly differently to sounds. | ||
| Audio Software 'Look Ahead' Parameter | ||
| In the meeting, Simon and David discussed the 'look ahead' parameter in their audio software, which delays the entire project by a certain amount of time to analyze the audio before it gets into the compressor. David had initially set it to 0 ms by default, but after advice from ChatGPT, he considered changing it to 3 or 4 ms. Simon explained that setting it to 0 ms adds no latency, but setting it to a higher value like 10 ms adds 10 ms of latency to the project. He also clarified that the 'look ahead' is not necessary for a compressor unless it's being used as a limiter. The team also discussed the use of sidechaining in compressors, with Simon explaining how it can be used to make sounds duck in and out of the mix. Pedro asked about the general rule of thumb for compressing percussion, to which Simon responded that a slow attack and fast release is often used for a springy sound. Ana had to leave the meeting early but planned to attend the next session. | ||
| Mastering Compression Techniques and Dynamics | ||
| Simon emphasized the importance of understanding and using compression techniques delicately to enhance project dynamics. He encouraged the team to revisit their projects, remove compressors, and re-add them with updated knowledge. Simon also stressed the need for gain matching and focusing on transient dynamics rather than sound color. He advised against using compression on the master channel unless necessary and suggested using it only when needed to solve problems or create a creative effect. Simon also mentioned the need to avoid overusing compressors, as it can suck the life out of a sound. The team was encouraged to practice over the weekend and join the upcoming session on Monday. | ||
The Joy of Racks
AI Summary (may be inaccurate, for entertainment only)
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| Quick recap | ||
| SubSine and the team explored various audio processing techniques, including parallel compression, drum bus, and transient shaper, and discussed the use of racks in Ableton Live. They also built a drum rack from scratch, demonstrated how to create and manipulate instrument racks, and discussed the use of MIDI effect chords, saving sounds as instrument racks, and layering sounds. The team also discussed the functionalities of drum racks, instrument racks, and audio effect racks, and the workflow of creating and managing these in Ableton. | ||
| Next steps | ||
| • Build a comprehensive drum rack with effects and macros, map it to controller, and save it for future use. | ||
| • Create an instrument rack with at least 2 layers and use macros to control those layers. | ||
| • Review the synthesis videos posted by subSine in the Forum before next week's FM sound design session with operator. | ||
| • Experiment with audio effect racks if time allows. | ||
| • Prepare for intensive sound design work starting next week. | ||
| • Attend the next team meeting on Thursday. | ||
| Summary | ||
| Exploring Audio Processing Techniques | ||
| In the meeting, subSine and the team discussed various audio processing techniques, including parallel compression, drum bus, and transient shaper. They also explored the use of racks in Ableton Live, which can group different devices together for more control over sound. The team also discussed the use of expanders and gates in audio processing. Towards the end of the meeting, they started building a drum rack from scratch, with subSine explaining the basics of drum racks and how they can hold different instruments and effects. The team also discussed the potential for deeper exploration of these techniques in future sessions. | ||
| Creating Detailed Drum Racks in Ableton | ||
| SubSine led a session on using drum racks in Ableton, explaining how to add samples, effects, and layers to create a detailed drum machine. He demonstrated how to add a filter, reverb, and compression to individual drum sounds, and how to layer different samples to enhance the sound. He also discussed the importance of avoiding phasing issues when layering sounds. The session ended with SubSine encouraging the participants to experiment with their own drum racks, promising to go deeper into the topic in future sessions. | ||
| Instrument Racks and Control in Ableton | ||
| SubSine demonstrated how to create and manipulate instrument racks in Ableton, emphasizing the ability to add effects, control levels, and map parameters to macros for easy tweaking. He also highlighted the utility of the chains list for visualizing each chain in the rack and the use of a control surface for hands-on control. SubSine encouraged the participants to experiment with adding more instruments, processing them with effects, and saving their creations for future use. | ||
| Exploring Tools and Layering Techniques | ||
| SubSine instructs participants to experiment with the tools and offers assistance if needed. Yannick mentions he is still learning Ableton Live and is trying to use macros and explore layering. Peter expresses that he has never used macros before and finds the ability to layer samples fascinating. SubSine explains how the same layering technique can be applied to sounds, allowing for morphing and evolving tracks, and indicates that this will be the next topic to explore. | ||
| MIDI Effect Chord and Instrument Racks | ||
| SubSine demonstrated the use of a MIDI effect chord, which adds multiple notes to a single note played on a keyboard. He then explained how to save a sound as an instrument rack, which allows for layering different sounds and effects. SubSine also showed how to add more layers to a sound, and how to map these layers to macros for control on a controller keyboard. He emphasized the importance of using macros in the workflow, as it enhances the jamming process and creates a more lifelike arrangement in the track. | ||
| Sound Complexity and Layered Melodies | ||
| SubSine discussed the importance of sound complexity and modulation in music tracks, suggesting that simpler melodies can be effective if the sound changes as it plays. He demonstrated how to create a layered sound using a pad sound from the Rift instrument and adding other pad sounds to the chains list. He encouraged the participants to practice this technique and suggested that it could be used to build entire tunes. SubSine also mentioned the benefits of using drum racks, particularly with the Ableton Push, and hinted at some advanced techniques he would later demonstrate. | ||
| Exploring Drum Rack and Effects | ||
| SubSine discussed the functionalities of a drum rack, instrument rack, and audio effect rack in a software. He explained that a drum rack is used for triggering drum sounds, an instrument rack for creating layered instrument sounds, and an audio effect rack for applying effects to sounds. SubSine demonstrated how to map different key ranges and velocities to different sounds, and how to use a chain selector to control which sounds are triggered. He also showed how to create a parallel compression effect, which involves splitting the audio signal into two parallel chains, one with heavy compression and the other with no effects, and then blending them together. This technique is often used on drums to enhance the transient. SubSine emphasized the versatility and power of these tools, but also noted that they are not for the average user. | ||
| Audio Effect Racks and Mixing | ||
| SubSine discussed the use of audio effect racks in music production, highlighting their versatility and ability to group together multiple effects for reuse in different projects. He also explained how to manage volume levels when duplicating audio tracks, emphasizing the importance of adjusting levels to avoid excessive volume. SubSine further demonstrated how to separate and organize drum sounds within a drum rack, using the example of extracting specific sounds into their own tracks. Jesse and Y asked questions about mixing levels and the use of limiters, to which SubSine provided guidance. | ||
| Ableton Drum Racks and Workflow | ||
| In the meeting, subSine discussed the workflow of creating and managing drum racks and instrument racks in Ableton. He explained how to use chains to control different layers of sounds and how to map these to a controller for better control. Stephen asked about organizing and saving these racks, to which subSine suggested using the user library and creating folders for better organization. The team was encouraged to build a comprehensive drum rack and an instrument rack with at least two layers, and to experiment with audio effect racks. The next week's focus was set to be on FM sound design with Operator. | ||
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| Quick recap | ||
| The team discussed their personal and professional lives, with a focus on music production and sound design. They explored the use of audio effect racks, Autoshift, and the Operator synthesizer for creating various sounds and effects, with a particular emphasis on frequency modulation and envelope shaping. The session concluded with a challenge to build a track using the Operator synthesizer and a discussion on the potential for sound design in music production. | ||
| Next steps | ||
| • All participants to practice creating pad sounds using operator in Ableton Live. | ||
| • All participants to experiment with building different sounds using operator and explore its capabilities. | ||
| • All participants to post interesting synth sounds from tracks in the forum, with YouTube links and timestamps, for potential reverse engineering in the next session. | ||
| • Anna to add the 1980s synthesis tutorial YouTube series link to the forum. | ||
| • Simon to prepare for deeper exploration of FM sound design in operator for next week's session. | ||
| • All participants to consider the challenge of building an entire track using only operator for a future session. | ||
| • Anna to catch up with Simon on Monday. | ||
| • All participants to post any work they've been doing in the forum and ask questions if needed. | ||
| Summary | ||
| Work and Personal Life Updates | ||
| Simon, Ana, Jesse, Yannick, Peter, David, and DJ discussed their respective work and personal lives. Simon shared his busy week, including a mix-down session and an upcoming trip to London to see an Abba hologram show. Ana mentioned starting a new job and catching up on work from January. Yannick tested his microphone and Peter shared his track on the studio speakers. David mentioned recovering from a flu, while DJ shared a recent plane crash incident at the airport. The team also discussed the current flu season and its impact on their lives. | ||
| Exploring Audio Effect Racks in Music | ||
| Simon led a discussion on the use of audio effect racks in music production. He demonstrated how to process different sounds using these racks, emphasizing their utility in creating multilayered sounds and grouping together various effects. He also shared his workflow for vocal tracks, which involves using multiple takes layered across the stereo field to create width and a chorusey sound. The team also discussed their experiences with building racks and instrument racks, with Yannick sharing his experiment with running effects in parallel. Ana and Yannick also shared their experiences with using audio effect racks, with Yannick noting a significant difference when running effects in parallel. | ||
| Audio Effect Racks for Clear Sound | ||
| Simon discussed the benefits of using audio effect racks in Ableton for processing vocals, synthesizers, and other instruments. He highlighted the issue of buildup of muddy reverb in the middle of the mix when using delay and reverb together, and how using separate chains for each effect can help control the sound. Simon also demonstrated how to use a compressor to duck the delay and reverb when the vocalist sings, allowing for a clearer sound. He emphasized the importance of using racks to build and save these effects for future use. | ||
| Exploring Autoshift and Audio Effect Racks | ||
| Simon and Y discussed the use of Autoshift, a new device in Ableton, for vocal processing. Simon found it good for heavily processing vocals but struggled to make it sound natural. He suggested using it in parallel with other effects for better results. They also discussed the use of audio effect racks for parallel processing, which Simon found useful for adding character to sounds without losing their core frequencies. The team was encouraged to experiment with these techniques and build up their skills in using audio effect racks. The conversation ended with a discussion about FM sound design, with David mentioning his experience with Serum and Diva. | ||
| East Coast vs West Coast Synthesis | ||
| Simon discussed the differences between East Coast and West Coast synthesis methods. He explained that East Coast synthesis, also known as subtractive synthesis, starts with a raw tone and filters it down to create the desired sound. This method was popularized by Moog synthesizers. On the other hand, West Coast synthesis, also known as additive synthesis, starts with multiple oscillators and uses them to create new tones and sounds. This method was popularized by Don Buchla and his synthesizers. Simon also introduced the Operator synth, which combines elements of both methods, allowing users to create a wide range of sounds. He emphasized that Operator is a powerful tool for sound design, capable of creating beautiful evolving pads, plucky bass lines, and other unique sounds. | ||
| Exploring Synthesizer Oscillators and Envelopes | ||
| Simon discussed the functionality of an oscillator in a synthesizer, explaining its volume, octave, and fine control settings. He also explained the concept of envelopes, which shape the volume of a sound when a note is played. Simon highlighted the importance of envelopes in making a synthesizer work and how they can be adjusted to create different sounds. He also discussed the concept of retrigger, which can be used to create a more precise sound or to avoid phase problems. Simon further explained the difference between analog and FM synthesizers, emphasizing that FM synthesizers like Operator can create unique sounds due to the frequency modulation of oscillators. | ||
| Creating Sounds With Operator and FM Synth | ||
| Simon guided the team on how to create various sounds using the Operator in its default form and FM synth. He demonstrated how to create a classic FM bass sound, a plucky sound, and a pad sound. Simon emphasized the importance of tweaking the envelope settings and using different modulators to create evolving sounds. He also introduced the concept of using different waveforms and creating atonal sounds. The team was encouraged to experiment with these techniques and create their own pad sounds. | ||
| Sound Design and Synthesis Techniques | ||
| Simon led a session on sound design and synthesis, focusing on the use of frequency modulation (FM) and the creation of complex waveforms. He demonstrated how to create percussive sounds and pads, emphasizing the importance of understanding the building blocks of sound design. Simon also highlighted the value of reverse engineering sounds from favorite artists to create unique sounds. The session concluded with an invitation for participants to experiment with the techniques discussed. | ||
| Sound Design and Synthesis Techniques | ||
| Pedro and Simon discussed the use of a long-range acoustic device for crowd control and the potential for sound design in music production. Pedro mentioned his interest in the Valhalla Shimmer plugin and its ability to create ethereal sounds. Simon suggested that understanding the language of frequency and envelopes is crucial for sound design and recommended reverse engineering techniques to learn from other artists' work. The team also discussed the use of tools like Centralia and Ableton's Learn to improve their understanding of synthesis. For the next session, Simon proposed a challenge to build every sound in a track using the Operator synthesizer, including percussion, kick, and bassline, and then use those sounds to create an entire track. | ||
| Quick recap | |
| Simon and Ana discussed their respective projects, and recreating the Abba Gold album using only Operator. The team also explored the concept of stereo width in music production, the importance of understanding synthesizers, and the use of modulation in creating dynamic sounds. The conversation ended with a discussion on the limitations of automation in music production and the introduction of the concept of modulation as a more flexible and creative approach. | |
| Next steps | |
| • All participants to create a track using only Operator and audio effects in Ableton Live over the next two weeks. | |
| • Simon to share a Google Drive folder with example projects made entirely using Operator. | |
| • All participants to submit their Operator-based tracks to a designated folder before the next session. | |
| • Anna to host a drop-in session on the upcoming Monday. | |
| • Simon to try to drop in on Monday's session if possible. | |
| • All participants to experiment with modulation techniques in Ableton Live, including unlinked modulation. | |
| • All participants to practice creating various sounds (e.g. percussion, bass) using only Operator. | |
| Summary | |
| Busy Schedules and Music Projects | |
| In the meeting, they discussed the upcoming Abba Gold album recreation using only Operator, with Simon expressing his enthusiasm for the project. Ana shared her experience of heavy rain in Barcelona, and Simon informed her about a last-minute music concrete masterclass with Michael Strachetti. The conversation ended with Simon promising to share pictures and recordings from the masterclass. | |
| Vocal Recording Techniques and Challenges | |
| In the meeting, Y discussed his recent work on recording singers and his plans to write a message on the Forum for further guidance. SubSine and Ana discussed the process of vocal recording and processing, including the use of Melodyne for pitch correction. SubSine demonstrated how to create stereo width in vocals and emphasized the importance of this technique in creating space in the mix for other elements. David asked about the challenges of recording vocals due to their human nature. | |
| Enhancing Stereo Width in Music | |
| In the meeting, David and subSine discussed the concept of stereo width in music production. They explored various techniques to enhance stereo width, including using utility to monitor mid and side channels, adjusting EQ settings, and detuning sounds slightly. They also discussed the HAS effect, which involves offsetting the timing of left and right channels by a few milliseconds to create a wider sound. The importance of mid and side channel thinking was emphasized, with the core elements of a track typically placed in the mid channel. The discussion concluded with an example of applying these techniques to a project. | |
| Stereo Width and Depth in Music | |
| SubSine discussed the importance of stereo width in music production, particularly in club music. He explained that while a wide sound can be desirable, it can cause issues when the music is played on a mono system, such as in a club. SubSine demonstrated how to avoid this problem by ensuring that each side of a stereo sound is slightly different, preventing the flanging effect when the sound is collapsed to mono. He also touched on the concept of depth in music production, suggesting that it is more of an emotional term for the spatial arrangement of sounds rather than a technical one. The conversation ended with a discussion on the use of depth in music production, with SubSine emphasizing the importance of recreating the sense of space in music that one would experience in a real environment. | |
| Operator Software Project and Feedback | |
| In the meeting, subSine discussed the progress made by the team in working with the Operator software. Jesse shared his enjoyment of the previous week's lesson and his enthusiasm for the current week's task. SubSine introduced a project based on the song "Drone Logic" by Daniel Avery, encouraging the team to recreate the sounds using only Operator. The team was also informed that they would have two weeks to create a track using only Operator, with the next session dedicated to listening to and providing feedback on their work. SubSine also mentioned that some students have built careers using Operator and encouraged the team to explore the software's capabilities. | |
| Creating Kick Drum Sounds With Operator | |
| SubSine led a session on sound design using the Operator synthesizer, focusing on creating a kick drum sound. He explained the process of generating a sine wave, modulating its pitch, and using a pitch envelope to create the desired sound. He also discussed the importance of tuning the sound to fit with the track and the potential loss of vibe when too much percussion is tuned. The participants were encouraged to practice creating their own kick drum sounds using the techniques discussed. | |
| Operator Envelopes and Synthesizer Techniques | |
| SubSine discussed the use of operator envelopes in synthesizers, explaining how they can be looped rhythmically or in a loop, leading to interesting results. He demonstrated how to create a rhythmic sound by looping the envelope and how to add grit to a sound using white noise. SubSine also discussed the importance of understanding the inner workings of synthesizers, particularly operator, as it can be applied to other synthesizers. He guided the team to build a sound similar to the one they created last week, with the addition of a pitch control. The team was encouraged to experiment with the sound and explore more advanced modulation techniques in Ableton. | |
| Computer Issue and Sound Design | |
| In the meeting, subSine discussed the issue of a computer not opening for a week and its subsequent resolution. He also demonstrated a sound design technique using a sine wave and a sawtooth wave, explaining how the harmonics in a sound create its character. He used the example of people singing the same note but having different voices due to the harmonics created by their vocal cords, mouth, and tongue. The conversation ended with subSine expressing satisfaction with the progress made. | |
| Resonance in Audio Filters and Music | |
| SubSine explains the concept of resonance in audio filters and demonstrates how it can be used to create interesting sounds in music production. He shows how filtering a sawtooth wave with high resonance can accentuate specific harmonics, creating a sound similar to that used in a Chemical Brothers track. SubSine then discusses resonators, explaining how they can be used to tune any piece of audio to specific frequencies. He demonstrates this by applying resonators to a rhythmic pattern and a field recording, turning them into musical elements that fit within a specific key. The discussion concludes with a brief comparison between resonators and vocoders, and a demonstration of how to automate filter parameters in Ableton Live. | |
| Exploring Modulation in Music Production | |
| SubSine discussed the limitations of automation in music production and introduced the concept of modulation as a more flexible and creative approach. He demonstrated how to use modulation to create dynamic sounds and explained the difference between unipolar and bipolar modulation. SubSine also introduced the idea of using modulation to create polyrhythmic sounds and showed how to use this technique in a project. He encouraged the team to experiment with modulation and operator to create unique sounds. The team was tasked with creating a project using only operator and audio effects, with the aim of showcasing their work in the next session. |
| Quick recap | |
| The team discussed their recent activities and shared progress on various music production projects, including work with the Operator synthesizer and field recordings. They explored different techniques for audio manipulation, microphone usage, and sound design in Ableton, with Simon providing demonstrations and advice on topics such as slicing audio, creating sample packs, and recording from various sources. The conversation ended with encouragement for team members to continue experimenting with the discussed techniques and to share their progress in future sessions. | |
| Next steps | |
| • All participants to record a sample pack over the coming week. | |
| • All participants to try different methods of slicing samples into drum racks. | |
| • All participants to experiment with finding cool loops in their recorded samples. | |
| • All participants to practice slicing pre-made rhythmic content like drum loops. | |
| • All participants to complete their operator tracks if not done already. | |
| • Ana to set up a shared folder on Monday for the class to compile a sample pack. | |
| • All participants to upload their samples to the shared folder once it's set up. | |
| • All participants to explore apps like Koala and Fieldscaper for mobile sampling and sound design. | |
| • All participants to practice recording directly into Ableton Live using various audio sources. | |
| • Steve to explore vocal sample sources as discussed. | |
| Summary | |
| Team Updates and Upcoming Plans | |
| The team discussed their recent activities and experiences. Simon shared his recent trip to Glasgow and his time spent in the studio working on David's tracks. Veronika mentioned her progress with production and operator, and her plans to create a cover of a Thai pop song using these tools. Peter shared his work on an original track using the female vocal from an operator, which he had uploaded to the forum. Jesse and Ana discussed the change in weather and the upcoming spring. David confirmed his return to Amsterdam. The team also discussed their plans for the upcoming week, with Veronika aiming to share her progress with operator and Peter planning to continue working on his track. | |
| Music Tracks Creation and Workflow | |
| In the meeting, David discussed his experience working on music tracks with Simon, highlighting the benefits of in-studio sessions over online ones. He shared a key takeaway from Simon's workflow, which was to make changes quickly without obsessing over every detail. David also mentioned his challenges with mixing and final touches, as well as his use of Operator for percussion. Simon emphasized the importance of reverse engineering tracks to learn how sound design works and to make tracks sound professionally polished. The group listened to tracks created using only the Operator synthesizer, with positive feedback. Peter discussed his work on a track remixed with electronic elements, and Pedro mentioned his plans to create more Operator tracks. The team also discussed upcoming sessions on arrangement techniques. | |
| Ableton's Versatility in Sound Production | |
| Simon discussed the versatility of Ableton in producing both digital and acoustic sounds. He highlighted the use of Kontakt for realistic acoustic sounds, which he believes is essential for those serious about acoustic music. Simon also introduced the concept of using native instruments, including Kontakt, for sound design, emphasizing their potential for endless creativity. He further mentioned the development environment in Kontakt, which he believes could lead to discovering new and unique sounds. | |
| Microphone Types and Studio Recording | |
| Simon discussed the various types of microphones and their uses in music production. He explained that dynamic microphones are robust and don't require power, but are less sensitive. Condenser microphones, on the other hand, are more sensitive and require power, making them more suitable for studio use. Simon also mentioned other types of microphones, such as tie clip or lavalier microphones, and field recorders. He emphasized the importance of having a microphone in a studio and encouraged the use of stereo microphones for a more immersive recording experience. Simon also touched on the topic of audio interfaces and the quality of preamps they provide for microphones. | |
| Enhancing Music Production With Field Recordings | |
| Simon discussed the use of microphones and field recordings for enhancing music production. He emphasized the importance of capturing sounds in the environment, highlighting the benefits of using a phone as a field recorder. He demonstrated how to loop and manipulate field recordings to create interesting percussive loops. He also explained the difference between stereo and mid-side recorders, and XY recorders, and how to use them for specific recording needs. Jesse asked about techniques for extracting specific sounds from field recordings, and Simon agreed to discuss this further. | |
| Ableton Audio Recording Techniques Explained | |
| Simon demonstrated various techniques for manipulating audio recordings in Ableton, such as recording directly from the computer's microphone, quantizing and adjusting the timing of the audio, and applying effects like reverb and delay. He encouraged participants to experiment with these techniques and record their own samples. Veronika asked about saving the audio with the applied effects, and Simon explained that there are two ways to do this: either by exporting the audio as a piece of audio with the effects baked in, or by saving the effects rack separately. | |
| Ableton: Saving, Organizing, Recording, and Editing Audio | |
| Simon discussed the use of Ableton for music production, emphasizing the importance of saving and organizing audio recordings and effects in the user library. He demonstrated how to save a track, including all effects and audio clips, and how to import parts from other projects. Simon also highlighted the utility of using a drum machine, either synchronized or played into the project, and the process of recording and slicing these into MIDI tracks for use in projects. He concluded by demonstrating how to record a selection of sounds and chop them into a drum machine rhythmically using MIDI. | |
| Creating Custom Drum Racks From Noise | |
| Simon demonstrated how to create a sample pack from a recording of random noises. He explained the process of turning the recording into a drum rack, which allows for manipulation and customization of the sounds. Simon also discussed the benefits of using a drum rack over a sampler, highlighting its playability and the ability to add effects and manipulate sounds in various ways. He concluded by showing how to slice the recording into a drum rack and emphasized the potential for intricate drum machines and drum racks. | |
| Creative Vocal Manipulation Techniques | |
| Simon demonstrated how to slice audio and MIDI tracks in the software, emphasizing the potential for creative manipulation of audio elements, particularly vocals. He suggested various sources for vocal samples, including Fiverr, SoundBetter, and AI tools like Lalal.ai for extracting vocals from existing tracks. Simon also highlighted the legal considerations of using original vocal samples, advising the re-recording of vocals for covers to avoid royalty payments. The team was encouraged to explore these techniques for their creative projects. | |
| Recording Audio From YouTube Sources | |
| Simon discussed various methods for recording audio from YouTube and other sources, including using plugins like Ableton and apps like Koala. He recommended using a loopback device to capture audio from YouTube and suggested downloading audio from YouTube using a downloader. Simon also introduced Fieldscaper, an app that generates real-time ambient soundscapes from live audio. He encouraged the team to experiment with different methods of slicing and resampling audio, and to share their findings in the class sample pack. Simon ended the conversation by encouraging everyone to continue working on their projects and to share their progress. |
| Quick recap | |
| The group discussed their recent experiences, weather conditions, and music scenes across different locations. They also explored various techniques for enhancing their audio project, including processing drum racks, sampling, sidechain effects, resampling, and adding randomness. The team discussed the use of MIDI effects and chains, audio editing tools, and sidechain modes in Ableton, while SubSine demonstrated advanced techniques for adding interest to tracks and the importance of experimenting with effects. The conversation ended with a discussion on creating unique sounds and textures in music production, and the use of sidechain modes in Ableton. | |
| Next steps | |
| • Experiment with resampling audio tracks and using effects to create transitions and ear candy in your projects. | |
| • Practice using sidechaining techniques beyond compressors, exploring gates and filters as well. | |
| • Prepare projects for next week's session on DJ and live performance techniques with Ableton. | |
| • Try to limit the number of tracks in projects by capturing edits into fewer effects tracks. | |
| • Consider breaking down one or two projects into a live performance structure for next week's session. | |
| • Consider purchasing and experimenting with the Daedalus delay effect plugin for sound design. | |
| • Practice recording parts of tracks as audio and manipulating them to create new elements and transitions. | |
| • Experiment with recording from the master channel and using pre/post effects options for resampling. | |
| • Practice using the "0" key to activate and deactivate parts of tracks for experimentation. | |
| • Prepare questions about DJ and live performance for next week's session. | |
| Summary | |
| City Weather and Sample Recordings | |
| The group discusses their recent locations and experiences, with Y returning to Bangkok after 10 days on an island and Ana hosting friends from Scotland in Barcelona where the weather is unexpectedly poor. They compare weather conditions across different locations. The conversation then shifts to music scenes in various cities, with peterbowers sharing insights about Stoke-on-Trent and nearby Manchester. SubSine offers 50% off codes for Ableton Live upgrades, and Jesse mentions purchasing a Push 2 device at a good price. The group also discusses their recent sample recording session involving animal sounds, including birds, foxes, and underwater turtle noises. | |
| Efficient Audio Editing Workflows Discussed | |
| In the meeting, Y expressed difficulty in working with large samples, which led to a discussion on efficient workflows. Ana suggested a method of cutting the sample in arrangement view, highlighting the specific sound, and then dragging and dropping it onto simpler. This method allows for a more focused approach without having to find the sound again. SubSine further explained the process of slicing and dicing audio samples, highlighting the differences between using simpler and slicing to a new MIDI track. He emphasized that simpler is more immediate for quick processing, while slicing to a new MIDI track offers more options. The team also discussed the potential for layering effects onto specific parts of a sample. | |
| Enhancing Audio Project Techniques Discussed | |
| In the meeting, SubSine discussed various techniques for enhancing their audio project. These included processing drum racks, sampling from other parts of the project, side chain effects, resampling, and adding randomness. SubSine also demonstrated the use of Live 12, particularly the routing section for creating new layers from existing ones, which simplifies layering sounds. Lastly, the team considered the potential of using pitch envelopes more cautiously. | |
| MIDI Effects and Chains in Ableton | |
| The team discussed the use of MIDI effects and chains in Ableton. They explored the difference between pre and post effects, with the consensus being that it depends on the workflow and the specific task at hand. They also discussed the benefits of using chains, such as increased complexity and options, and how they can be used to separate and extract different parts of a sound. The team also touched on the topic of sound design, with a focus on re-recording parts and using audio tracks to create new layers for sounds. They experimented with reversing and pitching sounds, and discussed the potential for further manipulation of these sounds. The conversation ended with an open question about the best approach to evolving sounds in a project. | |
| Audio Editing Techniques for Tracks | |
| SubSine discussed various techniques for creating new parts in a project using audio editing tools. He demonstrated how to add effects, reverse audio, and create drum fills using these tools. SubSine emphasized the importance of these techniques in creating a smooth transition between different sections of a track, which is a key difference between amateur and professional productions. He also highlighted the usefulness of reusing parts in a project, as it helps everything "click together" and work well. Jesse and Ana participated in the discussion, with Jesse asking about the workflow for mixing a track. | |
| Music Production Process and Control | |
| In the meeting, subSine discussed the process of music production, emphasizing the importance of discipline and control in the creative stage. He suggested that the creative stage should be completed in one session, followed by the arrangement stage, and then the final mix-down stage. He also mentioned the practice of some producers to treat these stages as separate processes, bouncing out stems and mixing in a separate project to avoid endless tweaking. SubSine encouraged the team to practice routing audio tracks in their projects and to explore creating transition effects and processing elements with effects. He also offered assistance in breakout rooms if needed. | |
| Enhancing Audio Tracks With Techniques | |
| SubSine discussed various techniques for enhancing audio tracks in a project. He explained how to create transition effects by re-recording parts, adding effects like echo or reverb, and then reversing the audio. He also demonstrated how to create new elements by recording from a group of tracks, and then manipulating the audio to create unique effects like stretching or filtering. SubSine emphasized the importance of using harmonically relevant build-up sounds to create a bespoke effect that complements the track. He concluded by showing how to automate certain effects for a smoother transition between sections. | |
| Advanced Techniques for Audio Production | |
| SubSine demonstrates advanced techniques for adding interest and variation to tracks using resampling and effects. He explains that these techniques are typically used late in the production process, after arranging is complete. SubSine showcases how to use delays and other effects to transform basic sounds into more complex and interesting elements. He introduces a VST plugin called Daedalus, which he uses to create granular effects and glitchy transitions. SubSine emphasizes the importance of experimenting with effects and recording the output to create unique audio elements that can be selectively incorporated into the track. | |
| Unique Sound and Texture Techniques | |
| In the meeting, subSine discussed various techniques for creating unique sounds and textures in music production. He emphasized the importance of experimenting with different effects and techniques to create a distinct character in a track. He also highlighted the use of sample packs and the importance of not relying solely on generic sounds. SubSine demonstrated how to use the main channel in Ableton to record audio pre or post effects, and how to use this feature to create unique transitions and fills in a track. He also mentioned the use of sidechaining effects, such as compressors and gates, and encouraged the team to explore different sidechaining techniques. Jesse and Ana expressed their appreciation for these techniques and their potential to enhance their music production workflow. | |
| Exploring Sidechain Modes in Ableton | |
| SubSine discussed the use of sidechain modes in Ableton for music production. He explained how a gate can be used to control the sound output, and how it can be set up to respond to a rhythmic part. SubSine also introduced the concept of using an operator to create a rhythmic pattern and sidechain it to control the main synth. He emphasized the importance of understanding the sidechain modes to create different effects, such as creating a rhythmic part from a smooth one. | |
| Adding Movement to Static Arrangements | |
| Simon discusses various techniques for adding movement and life to static arrangements using filters, automation, and effects. He encourages experimenting with these techniques to create dynamic and interesting tracks while keeping the project concise. The group also discusses the usefulness of the '0' key for activating and deactivating parts of clips and tracks. Simon mentions that next week's session will focus on DJ and live performance techniques using Ableton, including how to structure a live set from existing projects. |
| Quick recap | |
| The meeting covered technical issues in music production, new features in Ableton Live 12.2, and upcoming course plans. The main focus was on live performance techniques using Ableton Live, including setting up controllers, creating flexible arrangements, and incorporating various elements like original tracks and DJ mixes. Participants were encouraged to start building their own live sets and practice exporting parts from their projects. | |
| Next steps | |
| • All participants to start building their live performance set this week and continue developing it. | |
| • All participants to break down a few of their tracks into parts and bring them into a live set project. | |
| • All participants to experiment with jamming and performing their live set. | |
| • Ana to prepare and demonstrate her live performance setup during the Monday drop-in session. | |
| • Participants who have not yet posted their operator track to do so in the forum. | |
| • Steve to consider purchasing a Push 2 or Push 3 Controller based on Simon's recommendations. | |
| • All participants to post in the forum if they have a chance to jam with their live set. | |
| Summary | |
| Ableton Live 12.2 Features and Updates | |
| Ana and subSine discuss a technical issue where Ana lost an hour of work on a music mix due to not saving. SubSine suggests checking for an auto-saved backup. They then talk about the new features in Ableton Live 12.2, including improved audio bouncing capabilities. Ana mentions finishing season 3 of "The Righteous Gemstones." The group discusses the recent time change and its impact on meeting schedules for participants in different time zones. Nick provides an update on his progress with the operator session challenge, aiming to complete it before the end of the course. The session concludes with a reminder about upcoming listening sessions and live performance practice. | |
| Ableton Live 12.2 Features and Performance | |
| The instructor discusses plans for the upcoming sessions, including a focus on Max for Live integration and industry topics such as approaching labels and releasing music. The following week will be dedicated to listening to students' tracks in an informal setting. The instructor also highlights new features in Ableton Live 12.2, including improved audio bouncing and an upgraded auto filter. The session then transitions to discussing live performance techniques using Ableton Live, emphasizing its original purpose as a tool for musicians to use on stage. The instructor explains the benefits of using session view for nonlinear arrangements and the importance of developing live performance skills as an electronic music artist. | |
| MIDI Controllers for Live Performances | |
| SubSine discusses the importance of MIDI controllers for live performances and showcases his studio setup. He emphasizes the need for simplicity and accessibility when performing live, recommending a setup with no more than 8 channels for easy control. SubSine then demonstrates a basic Ableton Live set structure designed for a 2-hour performance at Berghain, explaining how it allows for both straightforward playback and flexibility for improvisation as the performer becomes more comfortable. | |
| Live Arrangement Creation With Controller | |
| SubSine discussed the use of a controller for creating live arrangements. He demonstrated how to use the controller to create an arrangement on the fly, particularly for a loopy techno sound. SubSine emphasized the importance of separating the live performance project from the project where tracks are made to avoid CPU overload. He suggested bouncing out tracks that are not even finished and bringing them into the live set as loops. SubSine also mentioned the possibility of finding new tracks from already made ones. | |
| Live Performance Setup With Volume Fader | |
| SubSine discussed the process of creating a live performance setup using a volume fader and a filter control. He explained how to map the fader and knob on his controller to control the volume and filter of the tracks. SubSine also mentioned the use of beat repeats to add variation to the tracks. He emphasized the importance of keeping the controls simple and not worrying about the exact position of the faders during performance. Jesse asked about the process of bouncing audio and SubSine explained that it involves putting a limiter on the master before bouncing out the parts. | |
| Creating Live Sets With Loopy Music | |
| SubSine discussed the process of creating a live set using a loopy style of music. He explained how to gradually transition between tracks, build tension, and incorporate external instruments. SubSine emphasized the importance of starting with a basic setup and expanding it as needed. He also introduced various effects and tools, such as the build effect, crash, and side chain kick, which can be used to enhance the music. The discussion concluded with a demonstration of how to use white noise to create buildups and manipulate emotions in the track. | |
| Creating Hybrid Live Sets With Ableton | |
| SubSine explains how to create a hybrid live set by combining original music with DJ tracks. He demonstrates importing a DJ track into Ableton, warping it to match the project tempo, and mixing it with original elements. SubSine then shows how to break down an original track for live performance by soloing and exporting different elements (kick, synths, hats, percussion) as separate audio files. He emphasizes the importance of using a limiter on the master channel and exporting loops of consistent volume. SubSine encourages participants to start building their live sets immediately, experimenting with transitions between their tracks and other music they love. He concludes by asking participants to practice exporting parts from their own projects. | |
| Music Production and Live Performances | |
| In the meeting, subSine and Ana discussed their respective approaches to music production and live performances. Ana shared her journey of starting from scratch and blending tracks to create a cohesive live set. She also mentioned her intention to create a new live set for performance purposes. SubSine encouraged the use of different approaches to music production and highlighted the opportunities for live performances. The conversation ended with subSine guiding the participants on how to export their work and promising to demonstrate a different live set approach. | |
| Live Performance Setup and Challenges | |
| DJ and subSine discuss the challenges of breaking down tracks into different elements for live performance. SubSine demonstrates his live setup, which consists of two main channels controlled by a hardware controller and Push. He explains how he uses granular synthesis for ambient intros, loops and snippets from his tracks, and live instrumentation to create a flexible performance. SubSine emphasizes the importance of being able to extend sections that are working well and having moments to regroup during the set. He also addresses a question about Push controllers, recommending Push 2 as a cost-effective option for most users, while noting that Push 3 offers some additional features if budget allows. |
| Quick recap | |
| The meeting covered various aspects of music production, including the use of Max for Live devices, granular synthesis, and sequencers to create unique sounds and rhythms. Participants discussed strategies for getting feedback on their music, approaching record labels, and preparing for their final project presentations. The group also explored techniques for creating melodic content, using audio effects, and organizing tracks for live performances. | |
| Next steps | |
| • All participants to prepare and submit a track or work-in-progress for next week's listening session. | |
| • Simon to create and share a Google Drive folder link in the Forum for participants to upload their tracks. | |
| • Simon to compile submitted tracks into an Ableton project for the listening session. | |
| • All participants to explore and experiment with Max for Live devices, sequencers, and granular synthesis techniques discussed in the session. | |
| • Jesse to visit the studio to see the modular synthesizer setup when convenient. | |
| • Simon to share a previously recorded video showcasing various Max for Live devices. | |
| • Yannick to consider building a low pass gate Max for Live device. | |
| • Simon to provide instructions in the Forum for submitting tracks for the listening session. | |
| Summary | |
| Max for Live Course Discussion | |
| The group discusses the upcoming final session of their course, which will involve listening to and providing feedback on each participant's music tracks. They also plan to cover Max for Live, granular synthesis, mastering, and approaching labels in the current session. Simon mentions the potential for an online Max for Live course in the future. Yannick, who is learning to code, expresses interest in the Max for Live ecosystem and asks for ideas on potential projects. The participants briefly discuss the similarities between Max for Live and Touch Designer, with Jesse sharing his experience with the latter. | |
| Building Connections for Aspiring Musicians | |
| SubSine advises aspiring musicians to build connections in their local music scene, as these relationships often lead to opportunities with record labels and gigs. He emphasizes the importance of waiting until one has a substantial body of work (ideally 8-10 tracks) before approaching labels, as this demonstrates consistency and commitment. SubSine explains that while it's relatively easy to distribute music independently, signing with a label provides access to an established audience and promotional resources. He recommends researching labels that align with one's musical style and approaching them personally, rather than relying solely on demo inboxes. | |
| Music Feedback and Professional Mastering | |
| The group discusses the importance and challenges of getting feedback on music tracks. They explore various methods, including sharing with friends, playing tracks for others in person, and listening in different settings. SubSine emphasizes the need to take feedback with a grain of salt, as personal taste varies. Ana suggests that playing tracks for others can provide a new perspective on one's own work. DJ mentions getting valuable feedback from non-musicians like family members. The group agrees that while feedback is important, artists should maintain their artistic vision. They also discuss the value of professional mastering services for tracks intended for labels or serious consideration. | |
| Max for Live Development Tutorial | |
| SubSine explained the functionality of Max for Live, a development environment for Ableton. He demonstrated how to use it to create new instruments, audio effects, and MIDI effects, and how to modify existing ones. He also showed how to use the automation lock button to duplicate regions without overwriting automation. SubSine encouraged the team to explore the Max for Live device library, which contains over 7,000 devices, and to use existing devices as a starting point for their own creations. | |
| Sequencers and Control Voltage Tools | |
| SubSine discussed the use of sequencers in music production, highlighting the ability to generate notes and patterns without manual drawing. He demonstrated the use of Ableton's new sequencers pack, focusing on rhythmic steps for drum production. SubSine also introduced the concept of control voltage tools, explaining their application in generating rhythmic patterns and their compatibility with modular synthesizers and external hardware. He recommended acquiring the sequencers pack, the CV tools pack, and the Max for Live essentials pack for enhanced music production capabilities. | |
| Euclidean Rhythms in Music Production | |
| SubSine discussed the use of Euclidean rhythms in music production. He explained how to create rhythmic patterns using the Euclidean sequencer, which distributes notes equally across a set number of steps. SubSine demonstrated how to adjust the number of steps and fills to generate different rhythms. He also showed how to apply these rhythms to various instruments, including drums and high hats. SubSine emphasized the potential for creating unique and interesting sounds using this method. | |
| Sequencer and Convolution Reverb Techniques | |
| In the meeting, subSine discussed the use of a sequencer to create a beat and the potential of convolution reverb for creating realistic or experimental sounds. They also explored the use of impulse responses to recreate the sound of real spaces and the possibility of turning a sound into a chord in real time. SubSine demonstrated how to use the new sequencer in Ableton to generate notes and create a basic 8-step pattern, and how to randomize and adjust the octave and length of the notes. The team also discussed the potential of using the new sequencer to create interesting and varied tracks. | |
| Max for Live Device Experimentation | |
| SubSine discussed various Max for Live devices and their functionalities, including the filter, mono sequencer, and snake. He explained how these devices can be used to generate ideas and create sequences, emphasizing the importance of experimentation and finding what sounds good. SubSine also mentioned the ability to sync these devices with the transport and reset them at specific intervals. Jesse asked about the compatibility of Max for Live with a push, to which SubSine responded that it depends on the developer's setup. SubSine also introduced the Sting device, which generates acid lines, and the rotating rhythm generator, which can create drum fills by rotating the rhythms. | |
| Granular Synthesizers in Music Production | |
| SubSine discussed the use of granular synthesizers in music production, highlighting their ability to create unique textures and rhythms. He demonstrated how to use the Granulator 3 plugin to transform simple chords into ambient pads, and how to capture live audio from a track and manipulate it in real-time. SubSine also mentioned the potential for using granular synthesizers to create interesting effects from field recordings, and suggested that they could be used for a variety of sounds, including vocals. | |
| SubSine's Frequency Buildup and Max Techniques | |
| SubSine demonstrated how to create melodic content using a frequency buildup technique. He used an EQ to identify the resonant frequencies and added them to create a chord. SubSine also showcased the Trigger Gate plugin for instant trance effects. He then explained how to build an audio effect in Max for Live, using the Svf filter as an example. He emphasized the importance of understanding the expected values and inputs for each component. | |
| Max for Live Devices and Live Performance | |
| Simon discusses using Max for Live devices, particularly low pass gates, and recommends using Ableton's tuner to determine the key when using the granulator on vocals. He encourages participants to experiment with different source sounds for the granulator, suggesting single notes for easier pad creation. Simon also reviews the progress of participants' live performance preparations, with DJ sharing his approach to organizing tracks using drum racks and controllers. The group discusses the upcoming final project presentations, with Simon requesting stereo WAV file submissions a day before the session to allow for quick mix adjustments during the review. He reminds everyone that the listening session will be held next Thursday at the same time. | |
Our listening session is upon us and we're looking forward to hearing your tracks!
Please submit your track using the form below in wav, mp3, aiff or flac format.