Make Bass Sounds Out of Any Sample w/ Simpler in Ableton Live (+ Dubstep Extra)

I dont know about you, but sometimes, I get really bored of using soft synths. For some reason, I feel like I seem to like things TOO quickly and dont end up playing around with the synthesis of a part, especially when I am making music at a relatively efficient speed. Sometimes, its nice to really destroy a sound and totally convert it from one sound to another. In this tutorial, we will be taking ANY sound really, and turning it into a bass-line. And quickly. This is not your "lets break down sound to its basics kind of tutorial"...it can be super useful!

**Something to NEVER FORGET about ableton, is that simpler is an amazing tool...because if you have ANY sample...you can place that sample within simpler, and then play it on your midi controller. This is almost like having a PRESET within a softsynth. So if you are sitting on many of gigs of samples, like I am...it can be really fun to reach into that sample bag, and make sounds from them. Also, the chances of hearing that particular sound (like a similar softsynth sound) in another track is much more rare, because you chose a sample...and then played it like an instrument.**

Today however, we will be making bass sound out of basically any sample. For todays lesson, I am just going to use a PIANO note. You could use a tom, woodblock, snare, kick, ANYTHING! We are really only using a few cycles of the actual waveform to produce a sound. This is a really FAST process too, so if you learn it, and master it...it can be your best friend for cool basslines.

So lets begin -

First, you want to open up a new midi track and place a simpler within a rack.


Now, you need to pick a sample. Anything will do really. I usually like to pick an instrument made sample because the waveforms are usually a little more stable. In this example - I chose a sample called "Phat Rhodes C2". Just drag and drop into the simpler.


Also, check your ins and outs and make sure that ONLY the midi controller you want to use is connected. (I must do this because I am running a trigger finger, launchpad, nano kontrol, and microkorg at the same time...and can get confusing especially when making a track)


Now, what you are going to want to do, is get within simpler. Drag the end marker of the sample over to the beginning (close to the start marker). And then zoom into the tiny little spot that you are highlighting -


Turn on Loop -


Now as you press a note on your keyboard, and you will hear an annoying, looping quickly sound. Move your end marker closer and closer to the start marker. Eventually you will be getting a toned sound. Now, the cool thing about this is, you can control the high frequencies of your bass from here. As a wave makes a full cycle, (one whole curve up and one whole curve down is one cycle) you have 2 great parameters to control here.

1. As you move the end marker closer to the start...the pitch will get higher and higher. Its ok to have a high pitched sound for now, we will transpose in a minute.

2. Depending on where you put the start and end markers....and the displacment from each other at start and end, you can create a nice high pitch clip sound which is great for bass.

In the following pictures, the first picture is creating a full cycle, with the start point and end point both starting and ending near the center line.

In the second picture, when the sound loops, it has to jump positions, so you get a nice click at the beginning.



Very nice for bass. Now you can take one whole cycle, 2 cycles...whatever sounds good. There are tons of cool sounds you can make just by moving these markers.

Ok, now we need to transpose that note down into the bass notes using the transpose. At the same time, I am going to put on a spectrum to analyze this wave while its being made so we can decide a nice bass note to make out of it.

Here I am at middle C of my wave now -

I love the pine tree wave there in the middle from the picture effect on macbooks. HAHA!

My bottom note is sitting at 291Hz. Def not bass range. Lets now use the transpose button within simpler to drop that down into the bass range -

Now I dropped it down to 65Hz (cause we are gonna make it play a little dubstep here in a bit too)


Remember, you can go lower, and use only the harmonics of the sound. You can throw on an EQ 8 later and roll off the lower bass sounds anyway if that makes it better sound. Its amazing how different parts of a wave will accent others differently...so be creative here too. You dont always have to follow your spectrum. Everything can be cleaned with EQs too.

Ok, now, once you got a sound you like, time to put on some filter envelopes to make it more unique.

So lets turn on the 2 filter buttons within simpler -


Now, once you are in here...key parameters are as follows -

Env Icon - Turn that puppy up if you are wondering why your envelopes arent working, dont forget.

Attack, Decay, Sustain, Release - Play to your likings.

Filter - Choose to your liking. I usually use a Low Pass on a bass, but all can service you well depending on what you are looking for.

Res - The resonance of the filter....excellent to a warped toned sound because the filter is really sucking in a FEW frequencies.

Play around with all of these to your liking. When I finished, mine was a really neat sound looking like this -


Also, you can use the "spread" icon to get a nice chorus sound...and also play with other parameters within it...its music, its infinite. But, you have a lot of options at this point. Dont forget to use your EQ8 to really make that bass sound nice. You can even use spectrum at this point to pick out certain harmonics to lift out with the EQ....because they are clearly viewable on spectrum. (each little hump).

Here I threw on the EQ8 and lifted a few of the harmonics of it -


From here, its endless. Put anything you want to touch it up. You can even move the start and end markers within simpler to see what happens. It gets really fun in this area, because it is so grey!

Now for the little dubstep action...and a thing I think most ALL dubstep producers know...so maybe its pointless to mention...but, there is always someone out there who could use the info.

At this point, you can now play with the LFOs within simpler. You have your main LFO, and your Filter LFO. Both are nice if automated in compose view, or mapped out to a controller for a hands on approach. Lets try both. First turn on your LFO button in simpler. If you are going to do a hands on approach, it would be good to map out -

Filter Freq, Filter LFO, Filter Velocity, Main LFO, MAIN FREQ -


Now, I am not going into to much detail about how simpler works here....but, playing around with the tempo sync, LFO type, and then moving all those parameters around, you can make tons of unique styles of dubstep bass. Again, grey area of making music, there is no RIGHT way, there is just YOUR way....so find what you like here.

Well anyway, play around, and enjoy. Once you get the hang of this little trick, it can be VERY handy for making a unique sound on the fly and get you out of the normal habits of relying on softsynths.

Peace!

FroBot

50 User Generated Shortcuts for Ableton 8 - From Ableton Forums

I always keep up on the ableton forums, and I came across this which seemed really handy! Thanks to all the people on the ableton forums posting great ideas!

(FROM http://forum.ableton.com/viewtopic.php?t=56637

PC users substitute 'COMMAND' with 'ALT' and 'ALT' with 'CTRL'

1. Live shortcuts & alternative controls for certain functions.
2. Duplicate = COMMAND+D.
3. Disable Grid = COMMAND+4 (or hold COMMAND whilst selecting note or note start/end).
4. Select Looped = COMMAND+SHIFT+L.
5. Resize/Move Loop braces = cursor keys or COMMAND+cursor keys.
6. In arrange view loop selected = COMMAND+L.
7. In arrange view consolidate multiple selected clips = COMMAND+J.
8. Playback from current position = SHIFT+SPACEBAR.
9. Trigger selected clip slot = RETURN.
10. Switch Clip/Track view = SHIFT+TAB.
11. Move clip from session to arrange & vica versa = Click and hold on clip then press TAB.
12. Stop focus moving when triggering clips (all clips) = In prefs > Record/Warp/Launch > Select on Launch > select 'off'.
13. Stop focus moving when triggering clips (selected clips) = CTRL+Click desired clip > select 'Select on Launch (Pref)'.
14. Preferences = COMMAND+,.
15. Adjust all track widths = hold ALT while adjusting.
16. Record Enable Track = F9.
17. Slower response while changing track levels = Hold COMMAND while moving fader.
18. Show hide plugin windows = COMMAND+ALT+P.
19. Stop browser preview = ESC.
20. In browser alternate navigation/previewing = left & right cursor keys.
21. Zoom to loop = Click on the word "length".
22. Zoom to position = Click on the word "position".
23. Zoom out 100% = Double click the bottom clip overview tab.
24. Zoom to specific portion = Use start and end of bottom clip overview like loop braces.
25. Alternate scrolling in MIDI clips = COMMAND+ALT+Drag.
26. Show/Hide overview in session view = COMMAND+ALT+O.
27. Show/Hide Info View = SHIFT+/.
28. Mute/Unmute tracks 1-8 = F1-F8.
29. Time compress/expand MIDI notes = right-click with all notes selected then select 'stretch notes'.
30. Insert silence in arrange view/scene in session view = COMMAND+I.
31. Drag multiple files to individual tracks = Hold COMMAND whilst dragging files in.
32. Unfold all arrange tracks = ALT+Click a track arrow icon.
33. Alternative velocity control in MIDI editor = COMMAND+Click note+drag.
34. Duplicate note in MIDI editor = ALT+Click note+drag.
35. Render tracks as individual files = In render dialog change "Master" to "All Tracks".
36. Assign twice as many qwerty keys to live = SHIFT.
37. Restrict automation point movement to vertical axis = COMMAND+Drag.
38. Scroll drum racks 1 row at a time = COMMAND+Drag.
39. View multiple plugin windows = In prefs > Look/Feel > Auto-Hide Plugin Windows > select 'off'.
40. Edit info text for tracks and devices to make notes = CTRL+Click > select 'Edit Info Text'.
41. Create note with draw mode off = Double Click.
42. Remove stop buttons to avoid clips stopping when changing scenes = Select clip slot > COMMAND+E (or enable 'Legato' launch mode).

General Tips.

1. *Hidden buttons visible when in midi or key assign mode =
2. scene up/down (in master track).
3. per track play button - launches selected clip in track.
4. *Entering bpm in the scene launch buttons title sets bpm when launched.
5. *Click the headphone icon in midi editor to enable vertical keyboard to preview related sound.
6. *While MIDI synced to external machine hosting Live ALT+SPACEBAR on the sync slave causes it to sync to the masters current song position. (remedy for sync drifting without stopping and starting).
7. *Remember to experiment with the default live rack presets especially the DJ/Performance ones.
8. *GIGA libraries can be exported to Sampler then deleted (if required), as all samples are copied to the library.
9. *Mac users check out a free app called Soundsource. It adds an audio prefs selector to the menu-bar.
10. *OSX Function keys = ALT+F1/F2 opens Display Prefs, ALT+F3/F4/F5 opens Sound Prefs, ALT+F8/F9/F10 opens Keyboard & Mouse Prefs.
11. *When a new version of Live is released. Open Info Window (SHIFT+/) and hover any new parameters, fields or preferences.
12. *Multiple tracks can be selected and frozen simultaneously.
13. *Drag and drop tracks directly from iTunes for DJing.
14. *Dragging a sample onto a plugin instrument will replace the instrument with an instance of Simpler containing that sample.

Peace!

FroBot

Slice to Midi - MPC Style by Saving Presets in Ableton Live Tutorial

Todays tutorial will be covering a GREAT little technique I recently learned on how to have MPC style sample slicing of any sample by using slice to midi. What we will be doing is saving macro settings from simpler within a drum rack which can be used and saved to your ableton defaults. This is great for having the ability to cut up anything into a drum rack, and then alter the basic sampling parameters like START, END, TRANSPOSE, VOLUME, etc. Without doing this, you would have to map each one individually. This is also nice to making random sounds for your pads to then reuse in production. You could even, just JAM away on a synth, record it, slice it all up to midi, and then slice it more with your presets...and get some awesome stab sounds. Anyway, lets begin.

The first thing we are going to want to do is put in a new midi track with a drum rack in it. After that, open up the device chain, and within it, you want to put a SIMPLER. Make sure to open up the simpler SAMPLE view also. It should look like this -


Now, what we are going to want to do, is map some of the options within the simpler to the macros on the left by clicking the MAPMODE (green) button. You can put anything you want, but if you would like a more mpc style control, I would recommend these -

Start
Length
Attack
Release
Transpose
Spread
(your choice)
Volume

The reason I leave a YOUR CHOICE in there, is because sometimes...you will want to use something based off of what you are making. Like controlling a LFO, or LFO frequency. Its nice to still have a free button to work with instead of using them all up. Mine looks like this -



Also, if you would like the 2nd sample to shut off when you start the next one, you should probably put a CHOKE on this. So go to the IN/OUT icon on the left side of the drum rack, and then under choke, select 1. -


Now, the trick to this is WHERE YOU SAVE IT. You cannot just SAVE IT ANYWHERE. There is a special location it must be saved. Go up to your browser, and click ANYof the file icons (1,2,3). Then, select your ableton library -


After that, select "defaults" and then "slicing". You will want to drag your drum rack into this folder and then name it. Mine is named MPC for Slicing -


Now you can go ahead and DELETE that midi track. We dont need it anymore.

Now, you want to select a file that you would like to slice to midi. In the example, I have a short synth sample I layered and sequenced, and I am eager to see what stabs I can make out of it. Make sure you have your start and stop points where you want them to be within that sample. Also realize that if your sample is long, you cannot use the 1/16 or 1/32 options because your drum pad simply does not have enough spaces to put your sliced samples. So, crop your MAIN sample first before you do this. My sample is just within an audio track in my ableton set like this -


Now, you are going to want to RIGHT CLICK your sample and select "slice to new midi track" -


Next, the little box will show up asking you WHERE you want to make your slices. In my case in the following picture, I chose 16th notes. You can choose the transients, or whatever you would like. What is nice about this method, is that since you already made the preset to be able to control the start and length of the sample...its ok to choose larger sizes like 1/4 notes because you can shape the sample anyway once it is within your drum kit.

Now, in the second drop down box, you should see the preset that we just made. Again, mine is called MPC for Slicing -


After you have selected that, click ok. This will now slice your sample into your drum kit preset. Mine looks like this -


Now, all you need to do is MAP OUT your macros to a controller that you like, and you are good to go. I use my trigger finger for this, which conveniently has 8 knobs that match the macros section, which is really nice. You can control the parameters of each macro by clicking the green "MAP MODE" button, and editing them. One that I usually do is the "transpose"...because it goes from -48st - +48st....which is usually too much (unless I am getting crazy).

Anyway, using this method, you will have a much more HANDS ON approach to slicing your samples. By then SAVING your drum racks when you finished, you can save whole racks of crazy sounds that can be used in production later. This is where randomization comes into music a little. You can just rock out anything on a few synths, make a small beatless songs....slice it up, and then have your own set of 128 different stabs to use....or whatever you want to create!

I hope this helped! Keep making tunes!

Peace!

FroBot

DJ Mixing with Filters (instead of EQ) w/ Camel Phat 3 in Ableton Live

Today we will be talking about mixing in regards to DJing with ableton live. Specifically, we will be talking about using filters instead of EQs to make nice sounding mixes between 2 tracks. Most DJs like to mix in the traditional sense where they will cut either the lows, mids, or highs, and then mix the next track in using that method. While that is a good method for mixing, and is pretty standard, I tend to not like computer EQs, and use a different style of mixing 90% of the time. This involves using a combination of low pass and high pass filters.

When using filters in ableton live, I prefer to use Camel Phat 3 rather than ableton's built in filters. Abletons filters are more like production filters, and also seem to have a small audible difference even when left on (without actually filtering). Camel phat filter can sit ON within a track without actually changing the audio at all. So I like to use this.

Now, in order for this to work, you must be using a controller that allows you to have 2 knobs (one for low pass, and one for high pass) on each track that you are mixing. I have them mapped out to my VCM 600 where normal "send 1" and "send b" are....because I use them so much...and dont use sends too much when DJing.

SOMETHING TO KEEP IN MIND WHEN USING CAMEL PHAT 3. For some stupid reason, within the VST....the LOW is high pass and HIGH is low pass. Dont ask me why. So when mapping them to a controller...take this into consideration.

Also, I like my low pass and high pass to both activate when moving the knob from the LEFT to the RIGHT. (unlike what it is actually doing on the EQ spectrum). So you will need to inverse one of them (in map mode) to make them both go the same way if you want to do it this way. For the purpose of understanding this tutorial, think of the knobs as being OFF when in the LEFT position, and fully activated when in the RIGHT position. (for both high and low pass)

Also, please make note of these 2 important numbers "11 oclock" & "2 oclock".

We will refer to the knobs on the controller as if they were a CLOCK, and the position being the TIME on the clock.

1. OK......so lets talk about a filter OUT of a track first. Lets say, you are getting ready to mix track A and track B. Normally, someone would cut the lows out of the old track, (and possibly the new track) and then mix the beats together. Since I usually mix during ambient parts (because everything is warped and this is possible), it is not necessary to cut lows really...because there are no beats overlapping. So, a nice trick to filter out track A (rather than using volume & EQ)

To filter out, just start turning your low pass or high pass out as the new track is coming in. This is a simple technique, that really does not need much explaining. You can make the whole track disappear by filtering it out the whole way.

2. Now, lets talk about a filter IN of a new track. This is where "11oclock" and "2oclock" come in handy. Since the range of the BASS end of the spectrum is much smaller than the HIGH end, yet a knob must be able to go through ALL the spectrum in less than 360 degrees, LOW is much more sensitive to your knob then the HIGHS are. In other words, when you start to use a LOW PASS FILTER, the beginning of the low pass will react more quickly than the high pass. The opposite is true to the high pass. The beginning will react much less drastically than the ending of it. So, if you are going to FADE in with a filter....its good to start with either your LOW PASS at 11 oclock, or your HIGH PASS at 2 oclock. (this is just from experience with this method)

On Camel Phat, Low pass looks like this -


High pass looks like this -


Now, if you are fading in a track with a high pass...set it at 2 oclock. Then, as that track starts, slowly start moving it to the left until the track is unfiltered. This will make a nice high pass fade in effect. On the other hand, you may want a more muffled low pass sound. So, set your low pass at 11 oclock, and move it to the left until it is unfiltered. This is a great effect for bringing in a KICK drum from out of the lower frequencies. I tend to think bringing in high hats sounds good with a high pass, and kicks with a low pass. But it can sound good both ways.

Now remember, you could use other placement than 11 oclock, and 2 oclock, but on club speakers...using a high pass starting in at a higher value than 2 oclock tends to sound VERY loud and TOO HIGH when mixing. Low pass sitting at anything higher than 11oclock tends to not even be heard. Just some hints, but sometimes it may work using other clock positions.

Now, once youve tried this, its time to really get into understanding mixing with filters. When you do this, you are playing with mostly low and high frequencies. But, when mixing, I think its best to mix within the mids because it is the cleanest sound to the ear. But by using the 2 together, you can in a band pass filter style, which sounds the best, and what I do most of the time.

3. Lets talk about FADING OUT A TRACK again. Instead of using just one low pass or high pass, lets use them both together. Lets not forget the sensitivity range of both. When a track is being filtered out into disappearing....use both together. Remember to move the HIGH PASS a little MORE than the low pass. This will make the filter out within the mid range rather than the LOW or high, and sounds MUCH CLEANER for mixing.

4. Now lets talk about using a LOW pass on one track, and a high pass on the other. Lets say your mix point is coming up....and you want to bring in track B with a high pass filter, then filter out track A with a low pass. Set track Bs high pass filter to 2 oclock. Then, start the mix. Start bringing in that high pass filter, and at the same time start using the low pass on track A. Filter out track A with a low pass until it disappears, and remove that high pass on track B until it is unfiltered. It makes for a nice mix. You could also do this with a HIGH PASS and a HIGH PASS or a LOW PASS and a LOW PASS. They both sound nice. If you are good at turning 3 knobs at the same time...like shiva...you could apply all these techniques, and for instance...bring in track B (high pass at 2 oclock), and at the same time, filter out track A with a low pass AND a high pass. This makes track A disappear in the mid frequencies, and then track 2 comes in from the mid frequencies until it is unfiltered, and then playing at its normal sound. ALSO, you can get really crazy, and use 4 knobs at the same time. Bring in track B using both, and fitler out track A using both. This is the best....because you can mix out in the exact frequency you are looking for.

Remember that when using filters, the way it sounds at home, is a lot different than how it sounds in the club. For some reason, it seems to sound MORE SENSITIVE on the high frequencies on your home speakers than in the club...usually because you are using mixing monitors rather than club speakers. So it usually sounds even better and softer in the club than it does at home...which is nice. Also remember, when in the club, what you are hearing in your booth monitors in NOT what people are hearing. So, I would sound check your set up, and have someone move your filters while you listen out on the normal speakers so you know exactly what the people are hearing when you mix this way.

I almost always use this technique, because I am totally removing frequencies in a fading fashion rather than changing the frequency db of each. I like the way it sounds, and I like mixing within fading frequencies.

Anyway, give it a shot. If you dont like it, go back to EQing. Its pretty simple however. You could try mixing with an EQ 8 to get a better sounding mix too, but that is for another blog.

Peace!

FroBot

NOTES FOR 3.30.2010

(Todays Session Above)

Well, i've been making music for the past week, just not blogging about it...been kinda caught up in it and running out of time. Also, I have been doing some art lately, so I havent had a lot of time to blog. Anyway, im about finished with this track. Its the track I started on 3.2.2010. Ive only got a little bit of EQing to do, clean up of some reverbs and delays, and one little explosion at the end to clean up. This track is really cool cause I sampled "I have a dream" all through it....FroBot getting all political...haha. Anyway, notes for today.

Make sure explosions (even small ones) are in the right key. Explosions can range between different tones, so its important to make sure the FIRST general tone is the same as the key of the track (or within a nice harmony). Its easy to forget about this, and its hard to notice sometimes. I need to pick up a vst that tells me the KEY of a sample...i dont really wanna have to run it through MIXED IN KEY...I would just like a plugin that could tell me. Wonder where I could find one....

Today I used the erosion effect for the first time. I used envelopes on the frequency and amount. Made a nice distorted buildup. I chopped it up in 1/8 notes, then applied the rolling erosion effect. Sounded really dirty, and i bet club speakers will just sound destroyed on it! Very cool.

Ive said this many times, but ill say it again, CHECK WHERE YOUR REVERBS and DELAYS end....gotta get them JUST RIGHT.

When using an autofilter really quickly on a sample, its nice to use a spectrum to check what frequencies are sitting strongly in those points, and then, make the filter end within those same frequencies. Makes the mix of a buildup with an autofilter sound really nice.

I was trying to make a REALLY cool ALL AUDIO CUT AWAY effect with a bullet shot sound, then the audio comes back it. Tough as hell! You gotta get a nice QUICK explosion on the come back....but, in my case it couldnt be so long or it sounded bad. I also needed a quick explosion before the audio cut, but it kind or defies the point of the audio cut cause you still hear the explosion. If you cut the explosion, it just sounds too drastic....so I used the volume envelope and a reverb envelope to let the explosion sit (for .3 second) over the audio cut, and it sounded ok. Im still not satisfied with it, but that will be for tomorrow.

Taking a midi sample, and then routing it and recording it as an audio sample gives you a lot better control of the transpose envelope. You can use envelopes on a sample coming from a drum rack (within the sample), but it is tough coming from a softsynth. So, just make an audio sample and play with it that way. Its also nice to CHOP your samples in 1/4, 1/8, 1/16, 1/32 pieces...which is not able to be done as easily with midi. You can use audio envelopes within the midi sequence, but it takes more time, and sometimes you want to do more than the midi can do. So just make an audio sample out of it, and play with it from there. If all is recorded at 0db, it should sound identical.

If you have vocals during a lot of the track, and then all of a sudden, for a long part, you do not, sometimes it can sound awkward because those vocals are sitting at such a distinct frequency, that something sounds missing. A nice little trick I did with the "I have a dream" sample, is took a small audio clip and cut it into a HIGH HAT melody. That way, that frequency is still there when the vocal stops, and sounds really creative. Most people will not notice that it is part of the vocal sample, but they wont feel anything missing because those strong vocal frequencies are still being used. This is important around 1K.

I need to clean up my track mutes. Its important to get them EXACTLY on the right beat (i mean EXACTLY) to get the disappearing effect to sound just right. Thats for tomorrow too.

Well, thats it for today.

FroBot

Novation Launchpad as a Monome Tutorial

Today, I figured out how to use my launchpad like a monome for free. This tutorial may not be the best because I wrote it as I was slowly figuring it all out....but, follow these steps, and it should all work. You should download these 4 programs to get this all to work properly, but in the end, I only use program number 3 when using the monome. Basically, I just made the connection with MAX RUNTIME once, and it worked after that.

4 programs -

1 "MAX Runtime"

2. "Polygome"

3. "Polygome OSX (special)" (click the download Polygome OSX link)

4. "Nonome Manual"


Now to be totally honest, I didnt 100% understand this process...but I know after doing it it worked. Basically, install everything. I dont understand exactly why I need to have MAX runtime running at the same time, but after I did it all ONCE, it worked without running programs 1, and 2. I only use Polygome OSX (program 3) from here on.

Please read the manual for set up. I wont go over that part. (also, in the manual, skip part 6, 7 about routing via MAX). It was useless for me.

Also, after reading the manual...it doesnt clearly state which file you should open with MAX. It is in the folder polygome_v0.98/polygome64v98/_polygome64.maxpat

(again, I only loaded this once, and then shut it down after that)

What I recomend is shutting down both programs now that you have them set up, and only open up the file "nonome-launchpad-poly-osx". The monome works fine for me after this step.

Now to first set up your routing. Lets do 2 things here. Lets start by getting into ableton and make sure your ins and outs are set up right. Lets look at the one input called "from nonome launchpad poly osx 1" Turn on track and remote.

This now enables you to output your monome to it.


Now, lets go back to the nonome program and set the destination output to that same input. In the top right corner where it says MIDI OUTPUT, SELECT that same Poly Osx 1 output (same as you just did in ableton to the inputs). Like this -


Now, if all that is set up well, you should have a connection. Now go within your ableton session view, and toss in a new midi track with an instrument you like. Go into the track routing section and select that SAME poly Osx 1 as your input like this -


Now, as long as your NONOME PROGRAM has its clock sync set to INTERNAL, and the little box is clicked...you should be getting sounds out of your launchpad in USER 2 mode. (remember to push user 2 mode 2ce to get the other options as described in the manual)

Also remember that the top row of buttons (top of the 8x8 grid buttons, not the preset buttons) lets you change the different sequence of the monome. So if you are wondering why nothing is changing, just push one of those 8 buttons, and it will change the sequence.

Now, this is all good, but we have one more problem. We need to SYNC the time in ableton to match the monome, instead of using the internal source....after all, we want the tempo to match ableton.

What you want to do first is to go into your AUDIO MIDI preferences in your mac. Open up midi preferences. Double click the IAC button to make a new midi bus. Name it. Mine is called "Monome Bus I made". Make sure to click the little box that says "Device is online". Now you have a midi bus to send your clock source out on.


Next, we need to go into ableton to enable that source. Go to the midi sync tab in ableton preferences and you will now see that bus you just created in the INPUT/OUTPUT section. Click the SYNC button next to the new IAC Bus you made (under OUTPUT). (you may also click TRACK like I did, but you dont have to, this is for another reason).


Now you have a bus that is sending out your clock time. Now, you must get back into nonome program and set the settings to receive that clock time. Under source, select BEAT CLOCK. Unclick the little box beside it that says "internal". Now, in the drop box that says "receive beat clock from", select that same IAC Bus you just created. Now you are connected.



******REMEMBER. No clock source will be detected unless you press PLAY within ableton...because there is no clock source to go by if its is on! So go into ableton and press play on the top bar.**********

Now you have a monome working with whatever sound you want, and in time with abletons tempo. Like I said, I just figured this all out today, so once I play around with it for a bit, I will give a whole new tutorial on how to use it. Right now, I simply dont know. I just wrote this blog mostly so I dont forget what I did today. It was really confusing to figure this shit out on my own...but I love the challenge.

A few tips I did realize today. Within nonome, in the PITCH SETUP part at the top, play with those paramenters to get different sounds.

In the mode section helps define velocity and different modes of use.

Anyway, when I understand it, ill blog it.

Peace!

FroBot

Using all 5 senses when making music (via ableton)

When we make music, we are mostly using our sense of hearing. When one thinks of music scientifically, they probably think of waves, ear drums, and things they learned in 7th grade biology diagrams mixed with 11th grade physics videos. Sure, one can argue that a music listener is mostly using their sense of hearing to utilize music...but this can not go as far to describe the artist making it. A good artist knows how to understand all of their senses when making music, to help trigger inspiration, create a schedule, or just set themselves at ease. Finding ones creative balance is obviously different for each person, but you should not be afraid to explore your other senses while making music. Here, we will talk specifically about finding that peace within yourself & your home studio while making tracks (and a little bit about ableton live).

Lets break the 5 senses down and talk about each of their roles in the track making process. Remember that the importance of each is how it reflects on your brain....triggering the creativity.

1. Hearing - Obviously important, so important that I will not go into to much detail about it. You are totally stimulating this sense during the track making process. Depending on your preference, great audio quality via headphones or monitors can make a difference in how your ears feel. Other than that, your ears are being pretty selfish and getting most of the enjoyment over your other senses while making tracks.

2. Sight- When sitting at your computer and working within a sequencer, you are limiting your visual senses to the same (repetitive) stimulation. Sure you can change between different programs within your DAW, and look at different effects....but these are not nearly the things that maximize your eyes excitement. 1st off, obviously situational, but set up your studio near a window, or somewhere you can get a view of the real world should you choose to. Letting your eyes be treated to normal, everyday stimulation can help your brain get out of that sequential zombie mode you can sometimes fall into. That can be a good thing, but especially when moments are feeling not so "creative"...just a minute looking into the real world can really change your perspective on the track. If you dont have this luxury to be near a window, making your work station as visually friendly as possible will really help. If you are like me, tons of art around your studio can help to spawn ideas. Since my wife is an artist, I love to put her mandalas around me, tapestries, posters, whatever. If you are more of the "clean" type, having a perfectly clean station with all chords taken care of can be just the visual stimulation you need to help your creativity though the process. After all, having a nice workstation while working is one of the most important parts of getting in a musical routine. Dont forget, candles can make the mood JUST perfect sometimes. Lighting can also be very important.

Now, on a tech note, dont ever forget the importance of abletons color and screen size changing options. Our brain are very responsive to colors, so changing the feel of live can help your visual brain trigger ideas differently per color. I specifically like the midnight setting like this -

Also, dont forget that you also can change the size options...which can serve more like a tool sometimes than a creative thing, but it can make a difference. You know how sometimes if you go to someone elses house to make music on their computer, and it feels totally different...and therefor you make different music....well, it can work like that. Here are some views of it bigger and smaller -



Totally different feel. Anyway, play around and find something that is nice for you. When it gets dull, change it. I find the midnight one gives me a nice darker feel, and makes me feel a little more serious about my art. I also love the frosty one on a winters day. But anyway, its always fun to change.

Also, sometimes, just a quick walk away from the computer for a minute or two can really clear your eyes up. After all, we all know that staring at a computer screen for hours on end is not a healthy thing. Take care of your eyes, and maybe it will reflect in your music.

3. Touch - Another important element to your creativity. Simple things really. Be comfortable. Have the heat or AC (or nice window breeze) just how you like it. Make sure you are sitting the way you want to be sitting. (in my case, i sit on a block because I constantly stand up and start dancing a little while making a track, then get back down and be serious for a few minutes, and then do it again. If there was a time lapse of me track making, I would look fucking crazy) Also, have some comfortable clothes on. I hate anything tugging at my balls....pajamas and Thai pants are my style. Also, back to dancing...dont be afraid to let that body shake when its feeling it. Sometimes, to really get the feel of how a track is going to be, you need to get up and move like you would in the club. This is natural, but on a more technical side, it can help you find nice swing timings for your snares and high hats. Just get into ableton, and use the swing buttons (or find your own groove). When you shake your hips, you can really tell the swing of a track. Also, making your hearts rate go up can help you feel more energy, which will show within your track. Play with your sense of touch while track making, because in the real world, it is one of your most important senses.

4. Smell - Now, this one may seem a little bit odd...but hear me out. I think, your sense of smell is one of stronger (if not, THE STRONGEST) sense of them all. Its amazing how well your brain can remember certain smells from a certain point in your life. Sometimes a certain smells lets you know what time of day it is, or what is about to happen to you. This sense, scientifically, is hardwired to the brain like no other sense. So why ignore it when track making. Something as simple as opening a window can let a breeze of fresh air into your studio and spawn new ideas. Maybe tobacco is your thing, and the smell of a nice lit cigarette just gets you in the mood for music. Rock it! In my case, im an incense guy. I love the smell of Nag Champa. Once that smell kicks into my brain, I think "MUSIC TIME". I never start a session without lighting one. Also, thanks to my friend Sam, I have gotten into oils in the past year. Essential oils are amazing for setting your bodys creative tone. I love the smell of hard peppermint...just makes me totally relax and helps re-center myself. Play around with your nose, and it will have great effect on your music.

5. - Taste - Most would say this doesnt apply much, but I beg to differ. Everyday, when I start my session (around 8:00am...yes, im a morning person)...I always start with a coffee. As soon as that coffee is finished brewing, I pour a cup, and turn on ableton live. Every weekday, no matter what. Now, not only does it help put my morning in perspective, but it also helped me to make a routine out of my somewhat procrastinating habits. Now, dont let it go too far like I did when I drink like 2 pots a day sometimes when making music...but it is really nice to start a session with. Helps clear your throat, and works with your sense of touch in making your body feel comfortable. Taste and touch are interrelated in my opinion. If coffee isnt your thing, having a drink beside you when making tracks so you can easily quench your thirst without leaving can help you from "losing the groove". And, this goes without saying, but a few beers, a glass of wine, baileys & coffee, a shot of whiskey....all of these can be nice additions to the creative process. After all, your brain is like a stretch armstrong doll....you can stretch the fuck out of it....but it always comes back....well, unless you really fuck it up or something.

By utilizing all of your senses during the track making process, you can help to assure that you are doing everything in your power to set the creative stage. If you try to use your other senses besides hearing, you will find your self saying "I just dont feel creative"....LESS! This can be the bottom line of all producing, "Just not feeling it". But, the best producers have found ways to overcome this...because they know deep down, that they love MUSIC more than anything in the world...and there is nothing that will come between them, and making that music everyday. Its what gives you passion, what gives you satisfaction, challenges, and pure enjoyment. If there is anyway to cure the "day to day life" disease, such as using all your senses to overcome these uncreative moments....well, you should at least give it a try...if you love music.

FroBot

NOTES FOR 3.18.2010

Todays Session Above

Well, good 4 hour session today. Got interrupted by my landlord coming to the door and saying that some repair guy needs to check my ceiling. The scary thing is, my wife has glass blowing shit in the dining room...we have a cat (not allowed cats here), and the place is a disaster. I was like (hold on a sec) while I cleaned up, and then came back to the door and he said "Oh, whoops, its the neighbors house". Phew! Scary thing is, he had keys, so he was going to come in either way. Wake up call....shit.

Anyway, progressed a little in that same track I was working on. I came up with some good ideas today.

A nice breakdown is to just delete EVERYTHING in a break, and toss in a sub bass. Then come in with anything you want. Its a really surprising hit if you start from halfway in a bar or something like that. I have 4 of the same style hit throughout the song. Sounds really cool.

I love asian sounds...specifically Chinese. Using midi effects like chord and scale make it really easy to make nice Chinese melodies. Without using them, its usually all black keys on the keyboard....but, if you want the whole thing in a different key, using those tools are really nice incase you cant remember the chords. I double layered a synth melody, and makes a great chinese beat.

Also, when something sounds just a little bit dull, or sharp....chorus can take care of that. It really makes a nice sound when used in just the right amounts. I did it on the melody like this -


Lately, when I have been making the backbone of the song using session view, I have been switching between basses within the same track. Thats easy for ableton to do, but not easy for a mixing engineer to EQ each one separately. When you send off tracks to someone, they are all audio files, so without looking at the waveform, or knowing the song, its hard to know where all the basses change especially if they change very subtly. When I finish with this track, I will separate my basses into different tracks. Just make sure the sidechain is on all of them when you do it.

Crash cymbals are a bitch to get just right. I always feel like they stand out awkwardly. I need to make some new racks of all cymbals so I have like 200 crash cymbals to choose from. Because the head of an actual crash cymbal is so big, there can be different tones within them. So getting one tuned just right to match the song can be tricky.

I made a pretty cool sound with a crash cymbol today, using a drum rack and crash sample. Then I put of the LFO and modulated the rate faster and faster. Also put a low pass filter that has a modulated LFO at the backwards rate of the sample LFO. Sounded rad.

I was recording my synth melody, and for some reason, the whole thing changed keys. I looked within it, and nothing was changed. I cant figure out why its doing that. I looked at all my envelopes too, nothing was on. I wonder what thats about.

All of my tracks seem so different from other peoples tracks. Besides the first one I finished, they all seem like a story...each with little tiny parts of different elements. Other people seem to be more smooth and maintain the same sound throughout. Maybe it comes with being ADD....and the way I DJ songs more quickly than a lot of DJs like to do....so I figure, make the tracks the way I would want to DJ them. If I want to play a 6 minute track I made....at least it really switches up and doesnt seem the same.

Thats it for today.

Peace!

FroBot

NOTES FOR 3.17.2010

Todays Session Above

Today started out with a nice regular session, working on a track from last week. Then, I got files from my mastering guy w/ some tech problems. So 2 things happened today.

Lets start with the things I learned mastering. Bad...but good came out of it.

I had put an nice low pass filter effect with alternating LFO speeds and a vocal starting in a breakdown. All these effects were on the master track...stupid me, but what I didnt realize is that when you export each individual track....those master effects wont take place. So I had to go back, and put the same effect in each track, and make sure the envelopes were ok!

BUT, a nice new trick I learned while doing that....if you make an effects rack out of the effects you used on your master track....then click the effects rack. Press COPY (Apple C). Then go to the tracks you want them on and just press paste. (you are pasting the whole rack into the track) Then, the envelopes you have for that effects rack are already put into the track. So each were copied into each track automatically based on the rack. That saved a hell of a lot of time. All I had to do then was change the envelopes for the ON/OFF of that effects rack...and my effects were in there! Nice.

I just just have to remember to be careful as to where it starts and ends, because I cant forget that if its blending the next part, to let the effects rack stay on until the envelopes for the effects are totally finished. I need to look at the longer lasting envelopes from the effects, and then shut off the effects chain then. I made some mistakes, but then realized this. Its hard when you have like 10 envelopes running on the master track, its hard to remember which one is longest without searching all of them. Especially after a week of not working on that track.

Well anyway, exporting now...sending off this afternoon. My stupid error, cost me time and money....gotta be careful in the future.

WELL aside from that, notes on my track making today -

Quick breaks have always been a problem for me....some kind of creative 4 bars before an explosion or new beat hits. Its very easy just to remove some kicks, and put on a crash cymbol or something, but thinking of cool switches can be tough. Found a new technique today....randomness at start. Just decide where you want an off beat change to come in, and delete everything or few things during those bars. Start just copy and pasting snares, or kicks on weird places...and feel something out. Get into your stabs rack, throw in some unique stabs, and then let it explode. It can sound really creative. So, to make a quick break before a new part, when the creative brain cant think of something, just be random, and your creative brain will feel something out of that.

Today I used a nice sub bass hit on 2.3 beats....totally off hit, but sounds super cool to bring it back in with snare rolls.

Using autopan, and using envolopes to control the "off set" can make for some really cool sounds. No one will ever notice unless they have headphones on, but adds some real creativity to your pans. I used it on a commodore 64 sample and sounded totally rad.

Dont be lazy, everytime you put in a sample...think of how you can make it better....with at least 1 or 2 envelopes. Do it on the spot....because once you listen to a track too many times a certain way, your brain starts to want it to be that way. So make your envelope changes ASAP... so you come to like the more unique, artistic sound....UNLESS of course it IS how you want it....but then again, dont be lazy either. Sometimes, a small stab is an opportunity to try out one of the effects you havent been using so much so you can better understand it....

Today, I did that with the grain delay effect. I was using that commodore 64 sample, already enveloping the pans offset....then I used a grain delay to slice it all up using the spray & frequency of it. Turns a rather boring, low bit sound into one of the main artistic parts of a breakdown. Grain delay is a fun little tool with low bit samples. The slices are so clean if you dont have any reverbs or anything on it. Can really crush a sound.



By the way....I FUCKING LOVE all my new racks I made all this week. I have thousands of unique sounds at my disposal right now....and its always a surprise to where the track is going to go when I open up a 8x8 stab rack full of all my favorite sounds...and I have like 50 racks to choose from. I start looking for a sound, and always find something else. That is all the bottom part of my sequence today...so many stabs!

Well thats it for today. Its already Wednesday! Nice!

Peace!

FroBot

Using Instrument Racks w/ Drum Racks To Have Effects Per Row Using Chains

So, yesterday, I was putting together huge drum kits....8 kits per rack...all made for my Trigger Finger. (see yesterdays blog for more info). The thing I really wanted to do was to be able to control effects based off of rows of my trigger finger. I want to be able to use the knobs on the trigger finger for effects, but without them effecting the whole group of samples. Specifically, since these drum pads are mostly for production, I really only want my tools on there so I dont have to waste time with that. Effects, well, im never really sure what I am going to want. I only have 2 knobs per row...one definitely being a frequency shifter. The other, I really want something to transpose the samples note up and down (+6, - 6) like I do with my samples...but that requires either using an audio pitch vst (which I dont really like), or, individually mapping each samples transpose to the same knob....LAME, and will take forever. So I need to think about this.

Another problem with the frequency shifter is that I need to to have a large range, but but also be able to get back to the 0 point easily...because some samples sound like shit if they are even just a few frequencies off....so I might have to use midimap to split a knob into 2 knobs, one going from (on the shifter) 0 and up, and the other knob going 0 and down. That way by putting the knob ALL THE WAY to one side or the other, it will be at 0....instead of trying to find it in the middle of the knob. In that case, I will use up both buttons...so shit....looks like I cant get exactly what I want without tons of mapping work.

ANYWAY....all that aside, lets get into how to make instrument racks w/ drum racks, so you can put different effects per row (or column if you like).

Ok, so what I have done is created a blank instrument rack in a new midi track.

Then, what I want to do is open up the chains of that rack. Now, I will take one of the drum kits I made yesterday (8 kits on 1 rack). Drag that into the device chain 4 times (for all 4 rows) like this -
You can see the exact same drum rack 4 times. Now, what you want to do is go to chain 1 (which is my case are the kicks). You need to delete every sample within that chain that is not a kick.

Then you need to go to chain 2, and delete every sample that is not in row 2 (or column 2 if you are doing columns). In my case, they are snares.

Again for 3, and 4. Also, rename your chains so its easier. Mine now looks like this -


You can see on my grid on the right side of my drum rack, now in rows instead of taking up every square.

Now you have individual chains to put your effects into. I went ahead and put in my frequency shifter to try it out. Click the chain you want, and put the effect after the chain, like this -


Now, any mapping you do to your controller for the effect, will not save when you save this instrument rack. But it is there. Considering I only have 8 knobs, its not a big deal just to map it when I want to use it. Its a lot better than manually putting it in, and I really need a rack that has per row effect options. REMEMBER, CLICK SAVE!

Now, it did take a lot of time to delete out all the samples I didnt want in each rack. If you want, you could just MAKE it right the first time. But, I also like to have copies of JUST my drum racks, in case I am doing improv and my friends want to use my racks their own way. So I put a little extra time into making both. It is a little bit time consuming considering the slow action of deletion of samples within a drum rack.

Also, one little thing I hate about drum racks, is how when you go to view the next 4x4 square within the grid view, it only jumps up 3 rows, not all 4....makes deleting confusing sometime. Maybe a fix for Live 9....please!

Well, now you have an instrument rack that have effects per row on your drum pad. Hopefully you can get the sound you are looking for even faster now.

Peace!

FroBot