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I just got a MIDI keyboard, and I downloaded the free Kore Player stuff. How do I use the sounds of that program in Live? I've managed to figure out how to record with the preset midi stuff, and I've figured out how to make the Kore Player sounds work alone, but I can't figure out how to record them in Live 
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Mar 31, 2011 00:42
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What are you guys using for mp3 conversion?
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Mar 31, 2011 02:10
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Paytizzle posted:I just got a MIDI keyboard, and I downloaded the free Kore Player stuff. How do I use the sounds of that program in Live? Create a new midi track, drag the kore player plugin to that track, then choose your presets in the kore player. Make sure your track is armed, and you should be good to go.
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Mar 31, 2011 02:11
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pennywisdom posted:What are you guys using for mp3 conversion? I use dBpoweramp Music Converter for all my converting and transcoding needs. I use it to convert my wavs to -V2 MP3s.
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Mar 31, 2011 02:14
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pennywisdom posted:Create a new midi track, drag the kore player plugin to that track, then choose your presets in the kore player. Make sure your track is armed, and you should be good to go. I can't figure out how to get the kore player plugin to show up in Live. I've only run it independently.
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Mar 31, 2011 02:20
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pennywisdom posted:What are you guys using for mp3 conversion? You can set iTunes to export mp3s. Once it's set it's just a right-click to export it.
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Mar 31, 2011 02:50
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Paytizzle posted:I can't figure out how to get the kore player plugin to show up in Live. I've only run it independently. On the left there is going to be a button that looks like an electric plug. Clicking that will open your plugins window and it should hopefully be in there. If it's not, you might have installed Kore to a different directory than what Live is looking for. To check, go to preferences, click the file folder tab, and look at the plug-in sources section.  Preferences: 
pennywisdom fucked around with this message at 03:01 on Mar 31, 2011 |
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Mar 31, 2011 02:58
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melee beats posted:Sidechaining solves this issue - the kick comes in while the lows on the sample go out, removing the conflict. Is there anyway you could be more specific. I am kind of a sidechaining noob. I know that sidechaining involved using another sound to limit the frequences of whatever you are sidechaining, but how would I use that to remove the drums? Would I have to recreate the drums on my own so every time they play they take out the lows on the sample?
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Mar 31, 2011 03:46
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colonp fucked around with this message at 17:47 on Mar 8, 2014 |
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Apr 6, 2011 01:12
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phractured posted:Is there anyway you could be more specific. I am kind of a sidechaining noob. I know that sidechaining involved using another sound to limit the frequences of whatever you are sidechaining, but how would I use that to remove the drums? Would I have to recreate the drums on my own so every time they play they take out the lows on the sample? Sidechaining, at least the way melee beats is talking about, is functionally the same as 'ducking', a technique often used by radio DJs when they talk over the music. Inherently it has nothing to do with limiting/controlling the volume of a particular frequency; you're simply using a compressor on your music signal (your bass) that responds to a a different signal (your kick) to tell it when to squash the volume level. The interesting part is when you incorporate a crossover to separate bass and treble signals, and this is what melee beats is getting at. In Live, you can create a Effects Rack on a channel, create two Chains within that Effects Rack, and filter them separately - for example, a HPF on one Chain and a LPF on the other, at the same frequency, or 'crossover point' (look up a 'crossover', it's a really common PA device that basically does exactly that: Bass to this output pair, treble to the other, at its most simple). So, if you use this approach you can place your 'sidechain compressor' INSIDE the 'low-end' Chain, and thereby 'sidechain' compress the actual low-frequency content of the sample you're using,, while leaving everything above bass ('melodic', 'present' and 'airy' frequency ranges) untouched. You'll probably still hear the drums as most kicks still have a high-end component to them, but for your Hip-Hop purposes this is pretty standard and will do fine in helping your new drum pattern to really 'punch through' the mix. Mister Speaker fucked around with this message at 05:21 on Apr 6, 2011 |
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Apr 6, 2011 05:19
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Blammo. Two band freq splitter.
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Apr 6, 2011 07:21
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Is there a definitive guide out there for drum layering? I've found a couple of guides on YouTube, but I'm wondering what the best practice is. Is something like this ideal? http://www.youtube.com/watch?v=Cs94kiOlR3c Or is it better to group the sounds together in a chain? How do you get a series of kicks to trigger using the same button, in that scenario?
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Apr 6, 2011 09:47
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Rabid Koala posted:Is there a definitive guide out there for drum layering? I've found a couple of guides on YouTube, but I'm wondering what the best practice is. You can chain it that way or you can chain it by splitting each drum sample into it's own channel and bussing it all into one. Then label the bus "Kicks" and all it will take to trigger them all is to just start the clip with your mouse/midi/whatever.
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Apr 6, 2011 10:09
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colonp fucked around with this message at 17:48 on Mar 8, 2014 |
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Apr 6, 2011 15:36
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Does anyone have any idea why Live's metronome bleeds into my guitar recording via Guitar Rig? It's really irritating but I can't work out how it's happening.
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Apr 6, 2011 15:47
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colonp posted:I never thought of using phasing like that - it's really neat. Did you make it? Vector 7 fucked around with this message at 19:53 on Apr 6, 2011 |
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Apr 6, 2011 19:51
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Mister Speaker posted:Sidechaining, at least the way melee beats is talking about, is functionally the same as 'ducking', a technique often used by radio DJs when they talk over the music. Inherently it has nothing to do with limiting/controlling the volume of a particular frequency; you're simply using a compressor on your music signal (your bass) that responds to a a different signal (your kick) to tell it when to squash the volume level. Sorry I didn't respond but this is pretty much it. I just use sends because I get a little more control and the ability to send multiple tracks to the same send 
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Apr 6, 2011 20:08
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Thanks to everyone for the help with drum layering. I finally got the sound I wanted. I have another question, though. I built a droning Operator synth that clips when it peaks. What's the best way to adjust the volume. Should I lower the volume on the synth itself, adjust the Gain in Utility, or use EQing?
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Apr 13, 2011 02:57
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If it's clipping straight away coming out of Operator you need to bring down the level in Operator. Besides that, do you know how to use a compressor? A compressor seems like it would be great in this application.
Vector 7 fucked around with this message at 06:27 on Apr 13, 2011 |
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Apr 13, 2011 04:11
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Ok, so I'm alternating between Envelope/Notes in the clip fairly frequently. Clicking is pretty 1990's, is there a shortcut for this? Google is pretty vague on it.
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Apr 13, 2011 09:05
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I'm looking to get into using ableton live for both DJing and production, with maybe a little video mixing on the side. Right now I have an maudio oxygen 8 v2 but I'd like to get some useful gear that will open up a more dynamic work flow and facilitate live mixing. Cheaper is better since I also gather that I'll need a pair of closed headphones and an external sound card to make this setup work. Does anyone have suggestions on this front?
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Apr 13, 2011 12:01
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APC is the gold standard, but the TriggerFinger is pretty legit too. Ableton loves MIDI, so there's not too many bad choices.
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Apr 13, 2011 12:35
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dolphins are gay posted:APC is the gold standard, but the TriggerFinger is pretty legit too. Ableton loves MIDI, so there's not too many bad choices. Thanks! Will the APC20 do the trick? I notice that it doesn't have a crossfader like the APC40 does, but I can probably only swing $100-200 now and I need an external soundcard for djing + a pair of closed headphones.
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Apr 13, 2011 22:56
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I mean you can map one of the many faders to be a crossfader.
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Apr 13, 2011 23:25
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I'm not a big fan of the Trigger Finger; it's not terrible but the pads aren't great and the build quality is a bit flimsy.
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Apr 14, 2011 02:03
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I had the Trigger Finger, and own the PadKontrol and the LaunchPad, and the Launchpad is by far the superior of the three. The APC40 is a really great idea and built like a tank, but the way it integrates with live is a bit weird.
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Apr 14, 2011 02:09
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What do you mean? I really like how it integrates personally.
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Apr 14, 2011 03:51
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phractured posted:What do you mean? I really like how it integrates personally. Its confusing as gently caress for me sometimes when I play live because I use none of the default mappings. Didn't have that problem with nocturn + Launchpad
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Apr 14, 2011 04:27
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melee beats posted:Its confusing as gently caress for me sometimes when I play live because I use none of the default mappings. Didn't have that problem with nocturn + Launchpad Oh gotcha. I just throw everything I want on User1 User2 and User3 to avoid that issue.
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Apr 14, 2011 14:11
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Popcorn posted:Does anyone have any idea why Live's metronome bleeds into my guitar recording via Guitar Rig? It's really irritating but I can't work out how it's happening. What kind of interface are you using? I had all sorts of bleed through issues back when I was using an M-Audio Fastrack Pro usb. Haven't had the problem since switching to a Konnekt 48.
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Apr 15, 2011 16:00
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TylerK posted:Konnekt 48. Lots of love for this interface.
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Apr 15, 2011 22:03
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TylerK posted:What kind of interface are you using? I had all sorts of bleed through issues back when I was using an M-Audio Fastrack Pro usb. Haven't had the problem since switching to a Konnekt 48. Lexicon Alpha...
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Apr 15, 2011 22:35
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Wow, I didn't really understand how to produce tracks in the arrangement view, just DJ...but man its way more fun than Session when you get your head around it.
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Apr 17, 2011 22:29
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Volvagia posted:Wow, I didn't really understand how to produce tracks in the arrangement view, just DJ...but man its way more fun than Session when you get your head around it. I think you may have confused the two. Session view is where you trigger clips and arrangement view is the more traditional timeline-style view. Don't worry, I mixed those up a LOT when I first started getting into Live.
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Apr 17, 2011 22:50
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^^^ oh really? Haha I was sure it was the other way around. Anyway, it's cool to produce in the mode you don't normally use.
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Apr 17, 2011 23:34
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I just mapped the Z/X/C keys to the Play/Stop/Record button and it's probably the best thing ever, next to a foot pedal. Goddamn I love Live. Does anyone else have any non-obvious but useful mappings to share?
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Apr 18, 2011 10:55
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sometimes i'll map 4 or 5 effect parameters to a single knob. once you start using multiple effects and using automation at the same time, you can start to fully appreciate ableton's creative flexibility
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Apr 18, 2011 17:38
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colonp fucked around with this message at 17:49 on Mar 8, 2014 |
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Apr 18, 2011 19:04
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dolphins are gay posted:I just mapped the Z/X/C keys to the Play/Stop/Record button WHY THE gently caress DID I NEVER THINK OF THIS
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Apr 18, 2011 20:47
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dolphins are gay posted:I just mapped the Z/X/C keys to the Play/Stop/Record button and it's probably the best thing ever, next to a foot pedal. Goddamn I love Live. Does anyone else have any non-obvious but useful mappings to share? God drat I need to do something like this, except with a different set of keys, 1 2 and 3 maybe. I have a full 88 key keyboard and a 25ish one as well nearby but I made music for long enough on my computer before getting a midi keyboard that it's still fastest for me a lot of the time to play ideas on my computer keyboard (and z and x are octave change )
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Apr 18, 2011 20:52
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