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I may be goign about this the wrong way, but is there a way to do sort of 'logic' operations in Live? sort of like Follow on actions I guess. I'll explain what I have here. 3 kick drum patterns, all triggering the one kick drum. 1 kick pattern which is very low, rolled off at 138hz, to provide some 'subliminal energy' if you will. Obviously this creates a bit of a mess at the low end with 2 kick patterns, so I do the opposite filtering on the first three kicks. this unmesses the low end. However, when the 4/4 kick pattern is playing, i'd like ableton to automatically only use the filtered drums. so basically, play patterns 1-3, IF kick 2 is playing, only play patterns 3-7. this probably doesn't make sense but i'm trying to explain it as best i can...
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Oct 9, 2009 16:57
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Lewk posted:I may be goign about this the wrong way, but is there a way to do sort of 'logic' operations in Live? sort of like Follow on actions I guess. I'll explain what I have here. I'm a little confused here, but maybe you could use sidechaining to mute one set of drums while the other is playing?
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Oct 9, 2009 17:33
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Mandals posted:I'm debating whether or not to upgrade to 8 from 7. Does anyone know what going to 9 from 7 may cost, using the jump from 6 to 8 as a guide? Well to upgrade 1-6 to 8 is $289, so I assume it'd be similar.
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Oct 9, 2009 18:57
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Computer Jones posted:I'm a little confused here, but maybe you could use sidechaining to mute one set of drums while the other is playing? I thought about sidechaining. I'll try to re-explain and see if it makes more sense. I have 2 midi tracks. They both send midi data to the same drum rack. One of them contains six clips, which are really 2 sets of three clips, because each one contains the same rhythm information, just triggering different drums (the different drums are filtered) The other just contains one clip, a 4 to the floor kick pattern, with a lot of low end. If this one pattern is playing, i'd only like the filtered three drum patterns to play. if it is not playing, I would like the non filtered patterns playing. I suspect I should just sidechain an auto filter to kick in over the regular beats, triggered by the one clip. I'm sure there is a more efficient way of going about it, but it's turned more into a thought experiment for me.
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Oct 10, 2009 16:48
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I have a bit of a problem with Ableton, and was hoping if someone could help me out. I'm reposting this from DJtechtools: I'm new with Ableton, and after watching Tom Cosm's video on DJing with it (as so many have), I decided to give it try. Unfortunately the only controllers I own are my X-Session Pro and a qwerty keyboard. Considering how many effect and EQ knobs I'm using (see the picture below), I only have enough for a single track (though deck should be a better name). My question is - how do I configure one set of knobs to control the same parameters but on different decks? I know I can map on the keyboard switches to turn on and off the effects/EQ, but what I need to do is switch between decks without having to turn anything off, but at the same time only control one deck at a time (as in - if I turn the "low" knob, I want it to be just for deck B and not deck A&B at the same time). Also have 8 available buttons and a fader on my controller - what would be the best ways to utilize them for DJing? I hope I didn't sound too confusing. English isn't my native language. 
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Oct 12, 2009 23:46
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I would definitely include a 3 band EQ for both A and B on those top knobs. The rest is really personal taste. Those bottom buttons look like they might be good for Looper if you have Live 8. Edit: I just saw your comment about using toggling between devices with one set of knobs. You really want 6 dedicated knobs for your EQs so you can bring the bass down on one track while bringing it up on the other for example. Dopo fucked around with this message at 20:07 on Oct 13, 2009 |
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Oct 13, 2009 20:02
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I agree with Dopo, discreet EQ controls for each channel is pretty important and there's a reason they come standard on even low end mixers. If you don't need them then by all means skip it but keep in mind you are ditching a fundamental mixing tool. The buttons on the bottom might be good for Transport controls but I'd probably end up using them for looping and trigger-type FX. I have some of the buttons on my Edirol set up as a loop set/active button and two loop size buttons (+/-) which has been more than enough for my style of mixing; you can also set each button up as different loop size and trigger if you like, I've seen quite a few DJs do it that way and it's a bit quicker but you need a separate button for every loop size you use. Actually last night I made an alternate layout with a single knob to control loop size and two loop set/active buttons, one for each deck. Haven't played around with it much yet live but it certainly seems to work pretty well in a studio setting.
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Oct 13, 2009 21:52
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can someone fill me in on the advantages of Ableton over FL Studio? I'm currently using FL to make experimental/atmospheric/breakcore/industrial/acoustic stuff. Can Ableton pretty much tackle everything FL can do, and some? is it as easy to use? I did have the demo on my comp for a little bit, but I got the impression that Ableton was meant more for Improvisational / glitch stuff.. or is that just something It can do in addition to being a normal DAW? I found the drum machines it came with to be very weird and rather limited.. Also, how does Abletons sound actually compare to the sound produced by FL; is it higher quality or simply different? maybe if someone with a good amount of experience with both FL / Ableton can fill me in on why I should explore this reportedly orgasmic program further
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Oct 13, 2009 23:53
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Otach posted:maybe if someone with a good amount of experience with both FL / Ableton can fill me in on why I should explore this reportedly orgasmic program further Fake edit: I typed a load of stuff about how working with audio sucks in FL, but from the website it looks like they improved that stuff a lot since version 7 (I can't say for sure, though). I'm a former FL user who switched to Live mainly because FL crashed way too often and I preferred Live's more flexible arrangement view.
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Oct 14, 2009 00:31
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Dopo posted:I would definitely include a 3 band EQ for both A and B on those top knobs. The rest is really personal taste. Those bottom buttons look like they might be good for Looper if you have Live 8. Ok, I suppose I can dump one of the glitch knob rows for another EQ row, I still need to then assign the filter and the glitch controls to both decks. Is that possible?
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Oct 14, 2009 04:29
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Otach posted:can someone fill me in on the advantages of Ableton over FL Studio? I'm currently using FL to make experimental/atmospheric/breakcore/industrial/acoustic stuff. The strong point of Live for me (and most people I think) is Session View, which is a terrific way to compose/organize/manipulate music, and pretty unlike the workflow of any other programs I've seen. I also really like Live's automation capabilities and its stability (and the fact that you can do practically EVERYTHING in realtime). Live doesn't have a lot of built-in synths/tone generators. The basic version of Live only comes with a couple of bare-bones sample players (Simpler, Impulse and Drum Racks). Drum Racks are kind of cool in that it's a 16 pad sampler with a separate effects chain for each pad, but it's not really a substitute for a full-blown drum sampler like Battery. There are a couple of add-on synth plugins (that cost extra) like Sampler (which is a decent equivalent to a hardware rack style sampler), Analog (pretty typical virtual analog synth) and Operator (a 4-operator FM synth) but personally I use third party VSTs for most of my softsynth needs. Live's built-in effects are generally pretty nice; the EQ, compressor, etc. all sound good and are very flexible. The audio engine itself is fine, though when you ask about comparing the sound quality of the two programs, keep in mind that mostly depends on the quality of your synths, samples, and other recorded material. If you are a fan of the FL bundled synths (I really don't know how FL rates in that department nowadays), then be aware that Live doesn't have the same variety out of the box (at least not the basic version of Live), but if you are using third party synths/samples, then generally any app will potentially sound as good as another.
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Oct 14, 2009 05:42
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Otach posted:Also, how does Abletons sound actually compare to the sound produced by FL; is it higher quality or simply different?
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Oct 14, 2009 09:16
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Otach posted:can someone fill me in on the advantages of Ableton over FL Studio? I'm currently using FL to make experimental/atmospheric/breakcore/industrial/acoustic stuff.
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Oct 14, 2009 17:12
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wayfinder posted:Not sure what you mean by that. It's like asking whether the sums in one calculator are better than those in another, or merely different. I think what gave me this impression was someone who once told me ProTool's sound was better than FL Studio because it was 'digitally encoded' or something like that. I don't know, I was just curious as I'm no sequencer whiz ManoliIsFat posted:I do breakcore too, and I'd say stick with FL. I've just never been able to do as much "hosed up poo poo" in Ableton, or at least not with the same ease. I used Ableton all the time to dj and for some one off, straight up songs. But Fruity Loops playlist and sequencer and piano roll and routing are so much more intuitive and useful for me for doing hosed up rolls stutters and the like. cool, thanks. do you have any examples of stuff you've made Manolis? I still may check Ableton out.. one of the main things I've been trying to figure out is how Danger creates his sound. Or rather what he actually uses
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Oct 14, 2009 19:28
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Otach posted:I kinda was under the impression that certain DAW's had a giveaway sound that professionals could spot; being able to tell one from another merely based by the sound produced.. You can hear that someone made something with FL Studio because they use all the built-in presets, the built-in synths, and use the samples that came with it to make their stuff. Since the samples aren't that spectacular and the (earlier) synths aren't that hot either, it's got a distinctive sound. Add to that the fact that whoever made that track was most likely an amateur with composition, mixing and mastering, and you've got your "sounds like FL Studio" recipe. quote:I still may check Ableton out.. one of the main things I've been trying to figure out is how Danger creates his sound. Or rather what he actually uses What he uses does not matter. The sequencer doesn't. Not even the plugins do. Danger has a really compressed, sidechained, pumping kind of sound going on; consider it like putting a liter of barbecue sauce on a piece of steak and a piece of chicken, and then trying to taste the difference. Learn how sidechain compression works (if you do not type this into Google I'll personally go smack yourself, the world's filled with Youtube videos explaining exactly what and how for every sequencer), overdrive your samples, sample creatively, and you'll get there. Also: don't forget stompboxes for guitars; those fuzzes and distortions are good for synths, too. Laserjet 4P fucked around with this message at 19:35 on Oct 14, 2009 |
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Oct 14, 2009 19:33
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Yeah, in choosing a DAW you should pick the one that feels best to you, since you can make pretty much all of them sound the same. I mean, Rusko still uses Acid. e: I say "still" because I thought Acid wasn't supported anymore, but they still make it. Even so, it's a fairly uncommon choice for a DAW but if you know what you're doing you can use any of them and it'll sound good. stun runner fucked around with this message at 19:41 on Oct 14, 2009 |
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Oct 14, 2009 19:37
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Thanks Yoozer. I know how to in FL and I've experimented with it a bit, I think what I'm more so approaching for danger is where his sounds come from.. he's just got this particular awesome bass, and these synths that sound straight from video games.. just wish I knew what he actually used, but I don't really expect anyone to tell me, it's just that every time I try to conjure an awesome bass out of a VST I tend to get nowhere. I'm not so good at technical stuff, maybe I need to read more of your 're-creating a particular sound' thread I'm aware of his experience with chiptunes, but when I tried gathering some sounds from chiptunes programs It got kinda confusing and I came up fruitless
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Oct 14, 2009 20:20
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Otach posted:I'm aware of his experience with chiptunes, but when I tried gathering some sounds from chiptunes programs It got kinda confusing and I came up fruitless Try stuff like this: -the "C64 sound": lots of pulsewidth modulation and superfast arpeggios, check out softsynths like Unknown64 -sampling: old hardware samplers had pretty low sample rates, giving things a "crispy" sound full of digital noise. Grab some sort of sampler, some interesting samples, and play around with bitdepth and sample rate. You can also get "bitcrusher" VST effects- CMT Bitcrusher is a good one. -FM synthesis: the lovely, cheesy sounds of the Yamaha DX7 and its ilk. Good for basses and metallic sounds. Again, often had a pretty low bitdepth/noisy output. Check out stuff like FM7. Then, er, compress the gently caress out of everything.
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Oct 15, 2009 00:19
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When I listen to Daft Punk - Alive 2007, I can hear all the Ableton effects  When I listen to it I can visualise everything they're doing and in what plugins and stuff, it's quite fun.
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Oct 15, 2009 00:39
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Otach posted:cool, thanks. do you have any examples of stuff you've made Manolis? quote:I still may check Ableton out.. one of the main things I've been trying to figure out is how Danger creates his sound. Or rather what he actually uses ManoliIsFat fucked around with this message at 16:02 on Oct 15, 2009 |
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Oct 15, 2009 15:23
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Plavski posted:When I listen to Daft Punk - Alive 2007, I can hear all the Ableton effects Once you know the sound of a beat repeat, you can't unhear it.
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Oct 15, 2009 15:25
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So, is the suite upgrade worth it for about $150 more? Bear in mind I have a ton of Reason refills to give me things like Strings, Cellos, etc.
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Oct 15, 2009 22:02
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Mandals posted:So, is the suite upgrade worth it for about $150 more? Bear in mind I have a ton of Reason refills to give me things like Strings, Cellos, etc. Do you want Analog, Operator, and Sampler? If you don't then I wouldn't give a poo poo. I would pay 1 million dollars if I didn't have sampler. Seriously gently caress Kontakt. Now if multi-sets came out in non kontakt formula.
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Oct 15, 2009 22:57
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Muttonchop posted:I know I can map on the keyboard switches to turn on and off the effects/EQ, but what I need to do is switch between decks without having to turn anything off, but at the same time only control one deck at a time (as in - if I turn the "low" knob, I want it to be just for deck B and not deck A&B at the same time). Bumping this question because it's something I'd like to know as well. The only thing that comes to mind is to build your template with one button on your controller set aside for the effect bypass ('on') button on BOTH decks' EQs. Then use your mouse to turn one deck's effect off, and save the template session. The way I'm thinking about it, this SHOULD mean that the button on your controller is a 'toggle' between the two EQs being on as it will turn their bypass switches at the same time (and one is already on). Assign the knobs to the same device parameters on both devices. That would work if you're only using two 'decks' but I'm interested in finding out if it's possible (or if there's some other way) for multiple tracks. Otherwise it's tabbing through controller banks.
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Oct 18, 2009 01:01
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Dammit. I've been watching more youtube videos... And it made me get some buyer's remorse about my pre-order of the Launchpad. I'll need those rotary encoders of the APC40. edit: nvm http://www.youtube.com/watch?v=oEhsEu3NnLM k0konutz fucked around with this message at 04:33 on Oct 18, 2009 |
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Oct 18, 2009 03:59
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Does anyone know what the most comprehensive/easiest to understand tutorials or guides on making mash-ups are? I've seen a few, but I'd like to start with one that can really show me how to make everything work together. Good image quality helps too, because it doesn't help a whole lot when you can't see what things they're pressing on the program. Suggestions or tips are appreciated, too!
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Oct 19, 2009 00:32
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Urban Wizard posted:I've seen a few, but I'd like to start with one that can really show me how to make everything work together. No tutorial will teach you how to do cratedigging. You have to listen to common pitches and tempos. For instance, you could take Prince - When Doves Cry and Salt 'n Pepa - Push it. Both are somewhat in the same groove, have the same pitch, and are close, tempo-wise (double tempo or half tempo - hiphop and drum 'n bass - works pretty well too). In other words, those are easy to mash up together. For the software you're going to use it means that stretching those fragments for a bit is not going to be rocket science (as there's a clear 4/4 beat to detect). 3/4ths of the job is finding such connections and bringing those songs together. The rest is layering and controlling volumes. If you can't hear those common properties, either exercise or give up. Some music theory as background works so you know you shouldn't mix Am chords with D# chords or something. Get it in tune and on time, and don't stretch too far. quote:Suggestions or tips are appreciated, too! Start with finding connections between the songs. Don't just throw some random acapella rap together with some indie rock track; there's not much creativity involved in that. Then, cut out 4 or 8 bars out of songs. Save them and number them. Get to know your audio editor properly; know where to cut and slice. Doing all that in Live (or whatever else) is tedious.
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Oct 19, 2009 15:00
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Urban Wizard posted:Does anyone know what the most comprehensive/easiest to understand tutorials or guides on making mash-ups are? I've seen a few, but I'd like to start with one that can really show me how to make everything work together. Good image quality helps too, because it doesn't help a whole lot when you can't see what things they're pressing on the program. Suggestions or tips are appreciated, too! making the mashup is really easy because the point of the mash is how easily the songs blend together. theres basically little to no skill needed to put the two songs together inside of ableon live. the really really really hard part is finding all the songs and phrases to mash together. good luck. dont worry about the technical aspect to much, just worry about the songs.
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Oct 19, 2009 18:51
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Is there a way to manually assign a particular MIDI CC to an automation control? For example, say I have an external hardware rack synth, I want to assign a knob on my USB MIDI controller to CC 18 on that synth. The synth is not capable of sending MIDI data, only receiving. Ergo as far as I can tell, I can automate the synth only with envelopes, not with Live's MIDI learn controls. I can't for the life of me figure out why Live doesn't let you manually add entries to the automation list. Is there a workaround?
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Oct 19, 2009 20:03
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h_double posted:Is there a way to manually assign a particular MIDI CC to an automation control? I was literally about to come in and post this (specifically mod wheel and pitch bend CCs) I'd love to do this inside the piano roll bit if at all possible. I'm still using Live 6 though, so maybe things have changed since.
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Oct 19, 2009 21:18
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Computer Jones posted:I was literally about to come in and post this (specifically mod wheel and pitch bend CCs) If you double click on a MIDI clip to edit it, there's a little round "E" button in the lower left that you can click to get into envelope edit mode. From there, you can add envelopes for any MIDI CC, which you can edit either with the draw tool or by adding/moving automation points. The part I don't know how to do is to bind an arbitray CC# to a control surface. h_double fucked around with this message at 21:52 on Oct 19, 2009 |
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Oct 19, 2009 21:50
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h_double posted:If you double click on a MIDI clip to edit it, there's a little round "E" button in the lower left that you can click to get into envelope edit mode. From there, you can add envelopes for any MIDI CC, which you can edit either with the draw tool or by adding/moving automation points. poo poo, right, thanks! I probably should have had a look in the lessons or something. I'm still interested to know about CC automation too, though.
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Oct 19, 2009 22:37
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h_double posted:The part I don't know how to do is to bind an arbitray CC# to a control surface. This has driven me nuts for a long time, and I don't think there's any way to do it. At least I never figured it out. If you do figure it out definitely post how you did it.
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Oct 19, 2009 23:40
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What are the main differences between Kontakt and Ableton Sampler? Is Kontakt worth buying or are my sampling needs covered by Ableton Sampler? Lately I've been downloading upright bass, flute and piano sample libraries... is Ableton Sampler nice to play them or do you feel any difference with Kontakt? (I don't know, but I mean, I read something about Kontakt databases being "scrypted" specifically for it, so I don't know if it affects the playing somehow making it smoother or something, while ABleton Sampler just acceses the raw .wav files and binds them to individual keys).
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Oct 19, 2009 23:57
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KaosPV posted:What are the main differences between Kontakt and Ableton Sampler? Is Kontakt worth buying or are my sampling needs covered by Ableton Sampler? I have a few more questions to add on to this:
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Oct 20, 2009 09:22
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Does anyone know if there's a way to get drum rack to automatically set the release of a sample to said sample's length? It's annoying to have to set it every time I drop a sample in there.
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Oct 20, 2009 14:07
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KaosPV posted:What are the main differences between Kontakt and Ableton Sampler? Is Kontakt worth buying or are my sampling needs covered by Ableton Sampler? Kontakt is way bigger. It's got scripting, which means you can basically program arpeggios, or when a chord is being played, you can program it so that it hits the notes in a certain order (to simulate guitar strumming). It's got keyswitching so you can load up a violin patch, and hitting the keys that are out of the playing range of the violin makes you switch between articulations - e.g. pizzicato, marcato, arco, legato etc.). Kontakt has built-in effects that are pretty good and a convolution reverb that's really awesome; you can stack modulation options until you're blue in the face. Computer Jones posted:Is drag-and-drop sample loading unique to Ableton Sampler or can other software samplers do this? quote:Is there any way to loop a short sustain portion in AS without it sounding like poo poo? There used to be a tool for seamless looping (Antares Infinity) but it looks like it's an early Mac OS (not even OS X) 7 app or something. It still costs clown money, and the newest OS it works on is OS 9, PPC. In the meantime, nobody's made something useful and/or novel in that regard. Too bad, because the actual technology behind it should not be complete rocket science; just a lot of FFT analysis.
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Oct 20, 2009 21:12
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Yoozer posted:Ableton's Simpler and Sampler allow you to drag in a part of the audio track. That's not in any other software sampler. As far as just dragging and dropping wavefiles goes - Battery, Kontakt and ShortCircuit all do this, but those are all I have. quote:Looping is hard. Since the waveform display in most software samplers is tiny, you have to zoom in really deep and set the looping points yourself. Heh, that sucks. If it comes to it, I could probably stretch a sample out in Paulstretch (I believe you mentioned that program in another thread, so thanks again )
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Oct 20, 2009 22:21
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What do you want to achieve? Another option is to attempt to resynthesize it with something like Imageline Morphine, Camel Audio Cameleon 5000, or Virsyn Cube. If you're feeling really hardcore, try stretching it in Photosounder. (check the Youtube video).
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Oct 20, 2009 22:42
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I'm pretty sure I remember a thread here on ML praising the Behringer FCB1010 controller with the firmware chip upgrade as they way to go for a midi foot controller, but how hard is it to configure it with ableton?
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Oct 21, 2009 00:33
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