|
In the other thread people were talking about cutting a clip (by beat or transient) and having it playable from the keyboard, and what was the fastest way of doing this. Someone mentioned the 'slice clip to new MIDI track' option, which I played around with - gently caress, what a useful tool. There is, however, one problem I'm running into with it. It's slicing the clip at its original tempo, meaning if I cut a bar loop at quarter notes for sample playback via keyboard or drum pads, it will probably be out of time. Right now I can think of two ways around it but neither are exactly conducive to speed. The first is re-recording the warped clip into another track and slicing that new clip. The other is circumventing a new track entirely by copying the clip within its track and cropping each copy's loop markers in different places (like one of the older youtube tutorials; e.g a 1-bar loop becomes four clips, each a quarter-note long). These solutions definitely work, but I'm wondering if I've made some glaring oversight in this slicing of clips into the drum rack. Is there a quicker/easier way of making a loop 'key playable' that still maintains tempo/warp properties?
|
#
¿
Jun 5, 2009 21:55
|
|
|
|
| # ¿ Apr 28, 2024 22:34 |
|
|
Kai was taken posted:Try comping the clip before you slice it. If I remember right, when you comp a clip it locks it to the tempo and warping it was at. Sorry to bring this up again, do you mean re-record the clip into arrange mode? Maybe I'm a bit dense but I can't think of anything else 'comping' might mean, looking at the clip view. There's something else I've been curious about, having seen a lot of videos of people using things like MPDs pretty creatively with Live. This is sort of on the same topic, but are these people using the 'slice to MIDI track' option by warp marker or something, and going at it with a Drum Rack? Or is there a way to program (something like) an MPD32 to automatically assign its pads to warp markers in a selected clip? I'm itching for more intuitive, to-the-point ways of laying down beats and messing with loops. Holy poo poo, $350USD for an APC40?
|
|
#
¿
Jun 8, 2009 02:05
|
|
|
And don't use the mixers in Reason. I mean, if you're ReWiring chances are you're doing this already, but just in case - I've always found that a big part of the 'Reason sound' comes from how choked everything is through its mixers. I ReWire every individual sound coming out of Reason, and only use the small mixers within Combinators when I need a blend of tones on one instrument. Then again, I rarely play with patches that aren't custom.
|
|
#
¿
Aug 10, 2009 22:02
|
|
|
I'm also a drummer who wants to incorporate Live into my setup to the same end, but I want to do it in a bit of a different way. I recall someone (RivensBitch maybe?) talking about using a foot controller (Behringer maybe?) on stage and I'm wondering how you'd go about setting that up. The way I've been thinking about it is, ideally I'd like to be able to use two buttons to trigger 'next scene' and 'previous scene', and be able to progress through a song/set that way (with something more detailed on hand like the APC40 I've ordered, and the other buttons on the Behringer controller), just tapping one button and playing alongside an entire scene. Is there a specific MIDI command for 'next/previous scene', or would I have to use a lot more buttons for each specific scene? EDIT: I just skimmed the manual (sections 7.2 and 26.2.4; pages 81 and 415) and realized what a stupid question this is. I feel stupid, but awesome that I can easily set this up now. Cheers. Mister Speaker fucked around with this message at 06:02 on Sep 18, 2009 |
|
#
¿
Sep 18, 2009 00:00
|
|
|
Terrible Horse posted:Got a maybe dumb question about Rewire. I rewire reason into ableton, but at the moment can only record the audio from reason's synths. I use reason's sequencer (which i hate) and just have audio tracks in ableton for the output. Is there any way I can have a midi track in ableton, that controls the reason synth? IIRC the 'External Instrument' device in Live allows you to target individual devices in Reason as well as designate what output to receive from.
|
|
#
¿
Sep 26, 2009 20:32
|
|
|
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.
|
|
#
¿
Oct 18, 2009 01:01
|
|
|
I'm having a bit of an annoying issue that worries me a little (depending on the root cause of it). I recently got the 8.11 update, offloaded my loop libraries to an external FW800 drive, and connected an Access Virus TI 2 to my system (via USB, still using my MBOX II Pro as my monitoring interface though) - all around the same time, so the issue must have something to do with one of them. The problem is audio dropping out entirely. I'm still metering all the way out to the Master fader, and occasionally I'll drop a clip into a track or hit a note on the keyboard and it will play. Inevitably, if I stop/re-start playback or try to so much as cue another clip, the audio drops out (but I'm still reading meters). Under preferences, I can sometimes get sound back by switching the (CoreAudio) driver off and on, or changing the I/O devices (either tends to have an effect, which is weird) back and forth from the MBOX to the Virus. I mentioned the three things I think could cause the problem. It could be that the samples need to be on my internal drive, but I don't see why (especially with a FW800 drive), and I think I've ruled that out by trying: - Unmounting all other drives (one is daisy-chained through the FW800, another through the MBOX), no effect. - Moving some loop libraries to internal HD & unmounting all external drives, no effect. So I'm thinking there's either an issue with Live 8.11, or a conflict of interest between the FW400 interface of the MBOX, and the USB interface of the Virus. I'm hoping it's the former; has anyone had any similar experiences? In any case, is there anything I can do to fix it? For reference, I'm running the following: - iMac, 2.8GHz Core2 Duo, 2GB RAM (soon to be 8GB, maybe that'll make a difference?) - MBOX II Pro connected directly to FW400 with one (non-critical) FW400 drive daisy-chained through it - Access Virus TI2 occupying one USB port, Akai APC40 on another, (non-critical) hub on the third - FW800 drive directly connected with one (non-critical) FW400 drive daisy-chained through it
|
|
#
¿
Jan 6, 2010 01:25
|
|
|
Vanmani posted:If you think it might be ableton 8.11, try installing one of the older versions and using that. Easy solution, since all ableton "updates" are just entire new copies of the software. Occam's Razor. I tried 8.0.3, it seems to work for now. Thank you for suggesting what should have been obvious. Now I can enjoy the Virus.
|
|
#
¿
Jan 6, 2010 06:33
|
|
|
OMGWTFAOLBBQ posted:Can I ask why you got an MBOX in the first place? "Can I subtly call you an idiot? Wait, I think I just did." Yeah, I know, MBOX isn't the greatest thing to have - I bought it for ProTools, the vinyl preamp and to record stereo overheads from my drums. I suppose I also got caught up because all my classmates two years ago were buying Digi. Should have held out for an 003+, I guess. Soon. ANYWAY, I'm posting again because I ruled out the version issue, and ran into the problem again today - and it's not just in Live. I'll lose audio playback even in iTunes. I'm now inclined to believe that it's either A: Some sort of conflict caused by the new external HD and having another drive daisy-chained through it, or B: (this is stretching it), drawing too much AC power without a conditioner. I've seen an MBOX act weird because of brown-outs before but at this point I'm just entertaining the possibility. I've posted about this in the Ableton forum as well. The 'D' indicator in Live doesn't blink when I lose audio, but I've noticed that the blue light on the front of the new HD does. It seems like it doesn't happen as often if I copy the audio samples to my internal drive (so a quick workaround is to lose the drive I just bought), but like I said, it's happening now outside of Live - with anything that wants to reference one of the two daisy-chained external drives. Am I just trying to use too much of the FW bus (and therefore screwed on this one), or is there a way around this? In case it matters, all external drives are formatted to OS Extended (Journaled). EDIT: I also noticed today that the CoreAudio Manager shows 'Not Connected (HW Not Found)' as its status now. EDIT 2: Wow, OK, uhh... Now it seems like I'm getting no audio out of the MBOX at all, regardless of what is connected/not connected to the computer. I'm considering re-installing ProTools with the CoreAudio drivers again, but I'm really worried that the box is just on its last legs. Obviously this is no longer a Live question, sorry for the wall-of-text. Mister Speaker fucked around with this message at 01:17 on Jan 8, 2010 |
|
#
¿
Jan 8, 2010 00:54
|
|
|
Vanmani posted:Before you give up on it completely, try it with new/different Firewire/USB cables. They can get damaged and cause all kinds of random problems. Yeah, this seems to be the key - at least part of it; changing the way my drives were all connected (now I have my regular ol' torrent/tunes drive running through the MBOX and my session drive running through the new FW800) seems to have stable results so far. I said it before, but... Occam's Razor. Thanks guys!
|
|
#
¿
Jan 8, 2010 06:38
|
|
|
moron posted:APC40 issue I'm new to this (and going through the daunting process of remapping the knobs on my own APC) as well, but it doesn't sound to me like you've missed anything. There are some glitches with the APC40 as far as I know - I've only run into delays with 'picking up' a mapping that can be solved by moving the fader; have you tried something like the NativeKontrol template? I've read blurbs here and there in Google searches that suggest it might help. SO... After running into that 'interface losing connectivity' issue AGAIN the other night, I think I finally found the real issue. Apparently the MBOX doesn't like sharing a computer with any FW800 devices. I'm pretty pissed about this as it means - not only do I have to swap drives between applications, but - I can't leave my 'session backup' drive connected, and must run sessions off my home drive. I think I can deal with using the 400 port on my new drive until I get the 003Rack+, but I'm hoping that doesn't have the same issue. So, for anyone owning an MBOX II, don't even try connecting a FW800 drive to your system. Anyway, I wanted to pick all of your brains about something: TEMPLATE SETS. How do you have yours set up? I'm right now going through the process of setting one up to squeeze the APC40 for all it's worth. I'm not a DJ, but I would like to be able to 'play' (manipulate) my (pre-recorded) tracks using the APC, while still maintaining some sort of use for it in actually creating the tracks in the first place. I took a page from this video, particularly the part about using return tracks to allow the crossfader to control the balance between 'dry' tracks and dummy clip tracks. I won't go into detail about my device mapping, only the clip launch matrix. The first four tracks I have set up as 'break racks'; I'm going to spend a while digging through my WAV loops, slicing them (by 1/8th notes), creating four-bar pattern clips for each, and adding them to these 'racks' that I can drag into these four tracks depending on the tempo of the music. Each 'rack' has all of the Simpler instances' 'transpose' controls mapped to a knob, allowing me to pitch the loops +/-3st in case I'm working in a different tempo - e.g: Since the breaks are all sliced by 1/8th notes, some have 'shuffles' that will be out of time; this allows me to somewhat put them into time. Of course, I'll have multiple different break rack devices to choose from - a few house/electro beats, some dubstep and a WHOLE lot of drum & bass. This serves the purpose of 'dropping stock breaks' into a performance while the stems of a song are playing back, but also allows those breaks to be 'played'. I'm considering making the fourth track a standard 'FX rack' instead of breaks - with things like white noise, 'laser zap' effects and the like. Any recommendations for some standard things to put in such a rack, that would be conducive to the clip launch matrix? e.g: a four-bar-long white noise with one of the device racks mapped to a bandpass filter and/or phaser, and its level so I can manually work a 'white noise swell' into the music? The thing I'm most scratching my head about is the next four tracks. I know they're dummy clip tracks, but for the life of me I can't figure out the best way to organize them. So far I have them as KITS, PERCS, MELODICS and MASTER FX. KITS receives audio from the break racks, and any 'stems' from my tracks that are kicks, snares, or hats. PERCS receives anything else that's percussion or sound FX, and MELODICS obviously receives everything that isn't percussion, from bass stems to vocal stems. All of these are routed to the MASTER FX track, which I'm planning on just putting a bunch of Beat Repeat instances on. This all seems to work out in my head but I haven't really put any of it to the test yet. I haven't decided whether the MASTER FX track is going to be before the 'dry/wet' crossfader, or after it. I'm also thinking about what kind of effects to add to the dummy tracks - so far I've done KITS, and it's simply a few Beat Repeats (which don't seem to work beyond 1/16th notes for kick/snare rushes, especially when follow actions are involved), an Erosion, an Overdrive and a Chorus. The last three effects have 'MOVES' knobs that control their character - e.g: For the Chorus, it controls several parameters to the effect of going from subtle, to 'robo-chorus' effect. Simple filters and (that all-too-common D&B effect) low-feedback 1/16th delays are contained in the actual break rack tracks. Obviously I'm going to create some dummy clips that have effect movements mapped in, but for now I simply have 'static' clips that just switch the chain selector to that particular effect; I have to do the 'movement' manually. That's a mouthful, I know... I'm really just curious as to how you guys utilize dummy clip tracks (if at all), and what kind of effects you use on them. Do you send your Kick/Snare to their own dummy track for rushes, or do you send all the drums to one track? Is it worthwhile to create a 'BASS' dummy track, or should I keep all the 'melodic side' in one track? Is it worth having a 'MASTER FX' dummy track, or can that all be put on the Master fader (obviously the clips can't)? What about returns, do you still use them for time-based effects like Reverb or PingPong Delays? TEMPLEEAT, SELECTAH. This has been on my mind for so long, I'm actually dreaming about programming my APC. Mister Speaker fucked around with this message at 02:38 on Jan 10, 2010 |
|
#
¿
Jan 10, 2010 02:34
|
|
|
prom candy posted:For Reason + Rewire + Ableton, how is it as far as automation goes? Easy? Tricky? Impossible? The only time I've done it I patched Reason into Ableton, set my Axiom to control Reason, and played along with my mix. Ableton saw the result as audio, but my understanding is that you can have Ableton just send MIDI data to Reason, and then send that back to Ableton as audio... is that the preferred way to do it? I don't really understand FM synthesis and I'm getting pretty tired of playing with Ableton's Analog. Yeah, you can send MIDI data to any device in your Reason rack. Just use the 'Send MIDI to...' in an instance of External Instrument to the Reason device you want controlled, and set that same Ext. Instrument's input to correspond to the device's output in Reason (through the HW Device - trust us, don't touch Reason's mixer). I've actually gotten early Reason 'sessions' of mine into Live by going into Reason and exporting the file as MIDI. When you drag and drop that MIDI data into Live it becomes multitrack (as many tracks as you had in Reason, so don't leave extras), and you can simply drop instances of External Instrument onto each track, and assign them accordingly. You can also use an exported MIDI file from Reason to get editable Dr. REX files directly into Live - make sure you only have one track in Reason, send the REX data to that track, export MIDI, import onto that Dr. REX's track in Live, re-arrange slices to your heart's content. But I think you're more curious about whether you can control a Reason device's automation through Live, no? The answer is yes, all controllable parameters should appear in the Live track as automatable parameters. BUT, some might have odd names or simply 'MIDI Ctrl. #' or something. I like to use Reason's Combinators to get around this; even if they're only housing one device you can assign key parameters to their macros, which will always show up as 'Rotary #' or 'Button #' in Live's track parameters. Mister Speaker fucked around with this message at 03:35 on Jan 16, 2010 |
|
#
¿
Jan 16, 2010 03:33
|
|
|
OMGWTFAOLBBQ posted:Okay, how about one that I can use in Ableton natively? I'm not sure if they're still offering it for free, but try the T.C. Electronic M30. It's only got some Hall plugins, but I find it pretty effective. I'm not a big fan of the native Live reverb, either.
|
|
#
¿
Feb 4, 2010 04:12
|
|
|
dookie posted:I plan on making a live set in Ableton. But the problem is, a lot of my songs are sequenced in Reason. I tried doing the tedious task of exporting each different loop in Reason that I have as a .wav and importing that into Ableton. However, this method is not perfect because it cuts the audio right off at the end of the loop (no room for reverb tails, delay, etc so it sounds choppy). Export your Reason data (I'm assuming your 'loops' are REX percussion or MIDI notes) as a MIDI file, it's in the 'File' menu. Go into Live's browser and drag the MIDI file into an empty session in clip view. It should separate by track and create a number of MIDI/Instrument tracks (and clips containing the data on each track) to correspond - whether they'll be named properly I can't remember. Open your Reason session back up, send all your devices to their own ReWire outputs, and either delete or turn off the Reason sequencer tracks (since all the MIDI data is in Live on separate tracks). Go back into Live, and begin the somewhat-tedious task of applying External Instrument instances to all the tracks your MIDI file created. Assign them all to the right MIDI out/audio in, and you should be set for playback. It may have simply created one clip per track, containing all your little 'regions' from Reason. If you want it cut up, simply grab your clip, hold it and hit TAB to look at it in arrange view (like your Reason seq.). Slice up that big region (CMD+E or CTRL+E), select it and drag it back onto the Session View track. It will arrange vertically, so bam, you've got your intro/verse/chorus/bridge/FUCKIN' BREAKDOWN/etc. to select from. You can do this with multiple clips (e.g: your whole song at the same time). I do this all the time, but usually on a smaller scale - I export the MIDI from REX loops I like in Reason (because I still can't find a 'ReFill Opener' software for Mac), and drop that into the track in Live so I can re-sequence the loop from there. Mister Speaker fucked around with this message at 18:46 on Mar 17, 2010 |
|
#
¿
Mar 17, 2010 18:41
|
|
|
BittyWings posted:Create a new audio track, set the audio in to the device you wanna record, arm it, and hit record to create a new clip. Maybe I'm missing something here as I don't do a lot of this kind of synth resampling, but wouldn't it theoretically be a lot faster to simply freeze the track your synth is on, and then drag the clip into a new audio track? I know this doesn't work with some outboard or software synths (my Virus won't allow it) but it definitely works with devices within Live, and even with ReWire devices.
|
|
#
¿
Jun 26, 2010 18:56
|
|
|
cubicle gangster posted:Can you get a sidechain to be inverted? Like it gets louder when theres the kick? IIRC the Gate/Expander device also has a sidechain option, so yes.
|
|
#
¿
Jul 30, 2010 18:21
|
|
|
colonp posted:How do you make the gate into an expander? For me, the gate is always very on/off-ish, while a compresser is "fluid". Bring up (down) the attenuation and play with the envelope controls.
|
|
#
¿
Jul 31, 2010 03:16
|
|
|
xpander posted:I've got a question about synth parameter automation. I've done tons of automation before, but I seem to have trouble with a few soft synths. I was working on a new track with a friend, and we want to automate a filter sweep with Superwave. We try changing parameters on the synth, but nothing is populating in the parameter dropdown menus. I loaded up a few different synths, some work, some don't. Has anyone else had this experience, and is there another way of doing it? Try hitting the 'Configure' button in the top right corner of the External Instrument item. It will go green, similar to how the macros in Instrument Rack do when pointing them at parameters. Then click on or tweak parameters in your plug-in window. They should appear as horizontal sliders next to the X-Y pad in the External Instrument, and you should now have control in the track parameter menu. Sometimes this doesn't work, though, and I find that you have to keep said parameters at full-scale (in the plug window) and work from there because Live treats the movement of the External Instrument faders as percentage of the parameter's set value, similar to how clip automation works in percentage.
|
|
#
¿
Aug 18, 2010 18:10
|
|
|
Does anybody know if there's a way to make a track 'ignore' the scene launch buttons, so that clips in that track can ONLY be fired by their own launch buttons? It'd be handy to be able to fire scenes with my APC40 without also launching a dummy clip with effects. A quick Googling suggests that I'm SOL, but I'm curious to hear your suggestions for workarounds - so far the best option is to move the dummy clips far down to a later scene I'll never use, but still within range of the APC40's bank selector.
|
|
#
¿
Sep 20, 2010 01:40
|
|
|
Rivensbitch posted:Use groups and launch those instead? That doesn't quite accomplish what I'd like it to, and group clip displays have always kind of annoyed me. I'm trying to squeeze maximum efficiency out of the APC's default mappings, to make use of all the nifty banks and such. So I'm avoiding things that will cause me to scroll with the mouse or have to open/close groups. So far the workaround I mentioned holds up - keep the dummy FX clips (on tracks audio is passing through) way down the session view; use 'bank select' to get down there. I love problem-solving with Live's MIDI mapping and device rack features (e: I'm not sure why I added that; all of the problem-solving was pretty much done beforehand when I thought out the dummy racks).
|
|
#
¿
Sep 20, 2010 02:45
|
|
|
wayfinder posted:Click the little headphones icon on the bottom left of the file browser area. It has to be blue. Check the preview volume knob (it's next to the Master volume slider, also has a headphones icon). Beaten. You might also want to check the 'Cue out' in the Master track, and make sure it's set to the same output as the Master itself. Sometimes it defaults to '3/4', your interface's second output pair.
|
|
#
¿
Oct 3, 2010 08:28
|
|
|
a baby anime posted:Also, another thing: How can I properly program midi into ableton? (for example, dragging a synth patch or so into a midi track and using piano roll with it)- I've done it a few times but I use the horizontal sequencer and I've only been able to get it to work properly with the vertical sequencer (I forgot the names so I'm sorry if I sound stupid) You can create a blank MIDI region in either the Arrange (horizontal) or Session (vertical) view with CMD+SHIFT+M (or CTRL+SHIFT+M, I guess). In the Arrange view you need to highlight a part of your track first; the region will appear in that space. In Session view, just highlight a clip slot on your instrument track and use the key command. From there, double-click the region and the piano roll should come up in the detail view at the bottom. It's faster (I find) to use the Arrange page to create regions and drag them over into the Session page, as regions created in the Session view default to one bar long, and typing in the clip length wastes more time than simply highlighting eight or sixteen bars and hitting the key command. Mister Speaker fucked around with this message at 16:02 on Oct 4, 2010 |
|
#
¿
Oct 4, 2010 15:59
|
|
|
I r Pat posted:I constructed a song's parts in session view and played it back in session view, which recorded it in my arrangement. Once I recorded the song, I made a ton of changes in arrangement view and all is fine and dandy with that, but when I go back to session view all my old clips and such are still present. Is there any way to translate the new arrangement to the new session view? I was going to just copy and paste each individual part but there are way too many and I can't decipher which ones are old and which are new. You can highlight your whole arrangement and drag it into session view; as long as you're on the right track (start at the topmost track, highlight everything, hit TAB and make sure you drop it to the leftmost track in session view), and as long as you still have separations between clips in arrange view, everything should copy over properly, into the right tracks with the right arrangement. You can run into problems with this if you've cut up clips in arrangement view. For example, if a percussion clip that normally runs straight through, is cut up into smaller clips, you'll need to consolidate those clips and the space in between them to retain a cohesive arrangement - otherwise, that particular track will end up with extra clips that throw off the whole song sequence when scenes are launched. Automation also poses a problem, because of the (really silly) way that Ableton treats clip automation as a percentage, rather than 0-127 values. You CAN copy track automation from the arrange page into a clip and then move that clip to session view, but you then need to open up all the automated parameters - if they're left at 0 (for example a delay send on the occasional snare hit), the clip automation will still work in % of 0, and the send knob will never move - well technically the knob won't move anyway but the send will automate. This is much easier to wrap your head around once you see it in action. Honestly, especially if you're dealing with a LOT of effects and automation, you're better off freezing/flattening the tracks before dragging your arrangement back into session view. I hope that at least makes some sense. Mister Speaker fucked around with this message at 21:00 on Oct 12, 2010 |
|
#
¿
Oct 12, 2010 20:57
|
|
|
You can make clips launch early using the clip view. Right-click on a warp marker and 'set 1.1 here' for the downbeat, then move the clip start marker (the arrow at the top left of the clip) to the left by a bar, or however many bars the lead-in is. Trigger the clip that much earlier.
|
|
#
¿
Oct 14, 2010 06:34
|
|
|
oredun posted:i dont have poo poo to prove to you so just call me a liar and i def dont want you knowing where i on post on CL, im fine with that. BUT so far in this thread it seems ive been more helpful and knowledgable than yourself, instead of posting actual information you just get mad and post stupid poo poo. are you jealous that i might get to do something cooler than you? Calm down man. Why don't you look up that thing RivensBitch suggested about loading a sample to RAM and see if it makes a difference?
|
|
#
¿
Oct 24, 2010 03:33
|
|
|
Popcorn posted:Assume I'm a total moron and I don't know which menu you're talking about. 'Pan Mod' is pretty much right in the center of the instance of Analog you're looking at. What colonp is suggesting is maybe you've accidentally tweaked the pan mod control in one of the Amp envelopes (in the screenshot you're looking at Amp1, but it also appears to be turned off, so look at all the parameters of Amp2), and that's causing the pan to follow the envelope or maybe an LFO. Clarified a little better: You need to click on the section marked 'Amp2', because that's the amp section that's actually turned on ('Amp1' is greyed out and 'Amp2' is yellow). Highlight the Amp2 section, and then look right at the center of the device, at the text 'Pan Mod' - is the number below it 0.00? Failing that, like colonp suggested you can always throw a Utility device into your chain and make it mono or reduce the width.
|
|
#
¿
Oct 24, 2010 23:59
|
|
|
tehschulman posted:Here's a head scratcher. I have a KORG nanoKontrol and have a session file saved with Live called TEMPLATE. TEMPLATE is an empty set with a bunch of extra tracks, renamed columns, and a slew of MIDI settings. When I open TEMPLATE and load samples into the project my MIDI maps work as expected, but when I save my set and change the name (in order to preserve my TEMPLATE file) and try to work in the set it's like my nanoKontrol is dead and non-responsive. You probably are way beyond this, but have you checked the MIDI/Sync tab in Preferences? It's a longshot but maybe the nanoKontrol isn't automatically recognized by the session like the Launchpad is - is its text (under Control Surface, Input and Output) in red, or there at all?
|
|
#
¿
Oct 25, 2010 08:19
|
|
|
Popcorn posted:My ceaseless quest for knowledge continues to... not cease. I want to apply a single effect to three tracks and control them with one volume slider. I assume I can do that by creating a new track and sending the audio from the three tracks to that one track... but when I do this, the new track doesn't give me any audio. What's the deal? You're on the right track, but make sure the monitoring status of the new track is set to 'On' or 'Auto', and make sure the track is record armed (unless its monitoring is 'On'). An easier way to accomplish this, though, might be to just group the tracks and throw the effect on the group.
|
|
#
¿
Oct 27, 2010 20:24
|
|
|
Nindoze posted:Check out the freeze function on the ping pong delay or reverb device, little F button - should be exactly what you're after. holy poo poo i can't believe i've never tried this
|
|
#
¿
Oct 30, 2010 09:27
|
|
|
Who Gotch Ya posted:I slowed a track down but when I slice it to a new MIDI track it's at the original bpm. Is there a feature to slice using the bpm you've changed it to? I had trouble with this a while ago, too. Apparently 'Slice to new MIDI track' can be a little finicky, and seems to ignore things like drastic warping or tempo change. You need to consolidate the clip after you make your changes to it - unfortunately I don't know of a way to do this in Session view; unless you're already there you'll have to drag the clip into the Arrange page and hit Command+J (or CTRL+J), then add your new warp markers if you prefer to slice based on those, and slice the clip. EDIT: I wonder how many times I've typed the word "consolidate" in this thread. Mister Speaker fucked around with this message at 16:40 on Nov 8, 2010 |
|
#
¿
Nov 8, 2010 14:58
|
|
|
wayfinder posted:You can arm more than one track by ctrl-clicking the arm button. You can also set this (and whether SOLO is exclusive as well) as your default in Preferences, I believe it's under 'Record/Warp/Launch'.
|
|
#
¿
Nov 13, 2010 20:44
|
|
|
You can drag audio clips/samples right from the Session view into pads on a Drum Rack, I do it routinely with loops to cut or effected/resampled hits. Racks look kind of like grouped tracks when you open them up but there are a few key differences. IIRC if you drag a sample or loop directly to a Drum Rack pad, it will automatically load into an instance of Simpler (or Impulse?), on the Rack's chain that corresponds to that pad. Colonp, thanks for that, I was poking around the other day because I knew I had been able to send individual drums to return tracks before, but forgot how. The real beauty of Drum Racks, to me, is how easily you can layer drums to a single pad. Expand the track with the Rack on it in the mixer, go to the MIDI I/O and tell the new drum hit's 'channel' to recieve MIDI from the same note as your first kick/snare/whatever. You'll know it's right because the first pad should change and now say 'Multi'. ...Also they'll both play when one is triggered. I keep a couple of Drum Racks in my template set, one for Kicks, one for Snares and the rest for assorted Percussion or breakbeat elements. Usually I'll start with a break, warp it, slice it to a MIDI track and cut it down (remove identical hits) and take what's left to the Kick, Snare or Perc tracks along with the MIDI clips which I edit down again. Then I go to the Kick or Snare track and layer hits. Then maybe add individual percussion elements like a particular hi-hat or ride to one of the Perc tracks, then probably back to finding another loop that layers nicely, slicing it and rearranging it, dropping the parts in respective Drum Racks, etc. The only real disadvantage I've found, as long as I make sure to copy the MIDI over, is that I have to go between at least three MIDI regions at a time to edit drum patterns. But it allows me to fine-tune layered drums while still having an easily-accessible 'Master Kick' or 'Master Snare' to pull down if I need it. Plus it's organized nicely when you close all the Racks in the mixer. Mister Speaker fucked around with this message at 07:47 on Dec 3, 2010 |
|
#
¿
Dec 3, 2010 07:32
|
|
|
Diar posted:
I'm glad you figured this out. I was going to say, I'm not familiar with the OCTORex, but a regular Dr. Rex player responds to a certain MIDI note (it's D1, IIRC) by playing out its loop completely (i.e: Not just a slice of it, like hitting a C2). I originally did things your way here, still using the sequencer in Reason to draw out the slice notes (which start on C2, again IIRC) and just recording Reason's output. But I find it's actually easier to use Ableton's sequencer and avoid Reason's altogether - this way you can also avoid arrangement conflicts that come from forgetting there's something in the Reason sequencer. I've completely cut REX slice rearrangement out of my songwriting process this way, instead opting to capture the whole REX loop from the ReWire track, into a WAV, and then slice it up again in Live. I feel like this way has made things a lot more efficient. As far as I'm concerned, Reason doesn't even have a sequencer - it's just an 'outboard' host for multiple samplers (since I don't have Kontakt) and loops (since you can't open a guddamn ReFill to get at the sweet, succulent REX files any other way). Mister Speaker fucked around with this message at 19:47 on Dec 20, 2010 |
|
#
¿
Dec 20, 2010 19:44
|
|
|
That actually sounds like it could be an issue from within Live, dolphins are gay. If you've saved a MIDI mapping for your transport REC button, I don't see why it wouldn't latch - are you using external sync for Live, or anything else that might affect your transport? Related question (related to recording and the transport, at least): I've now got a Live set that I sync to Traktor, with the end goal being that audio from Traktor comes into Live, gets mixed with some of my own tracks (when I loving finish some of them) and I have an extra 'layer of mixing', or an extra 'deck' if you will, in Live to add my own music. I also have an external effect loop that goes through Live. It's my Virus' Atomizer, into a KP3. The whole set is MIDI sync'd to Traktor's virtual MIDI output, so as to keep the Atomizer's beat-rush effects (and of course, my own tracks in Live) in time even with a DJ set that tends to fluctuate in tempo. Occasionally I have to hit Traktor's 'SYNC' button in the metronome section, before the downbeat, to update Live on the tempo. I have one track in Live set to 'resampling' (an input option that records Live's master output, but you knew that) to record the entire 'performance', from mixing in Traktor to dropping my own music in Live, to beat-rushing, stutters and glitching with the Atomizer/KP3 effect loop. There are a couple of problems with this. The first isn't really a big deal, it's just that playback gaps for a second when I hit 'SYNC' in Traktor - regardless of whether tracks in Live are recording/resampling. The second is a HUGE deal. I tried to use the Atomizer last night while recording a mix, and for some reason my resampling track entirely stopped recording roughly around the same time I hit 'SYNC' to update Live's tempo so I could uh, Atomize. I didn't realize this because I wasn't paying attention to Live's transport, but it indeed seems to be the case that hitting 'SYNC' in Traktor alters Live's transport, killing recording, even when there's nothing really playing in Live (there wasn't, I was just using it for the effect loop). So is there any way around this? I'd really like to be able to record my mixes with the Atomizer, tracks rolling in Live and the whole shebang. I also don't really want to buy a hardware recorder, or Mickey Mouse a solution with my portable MP3 recorder and a Y-cable - so far that seems like the best solution, though. The 'playback hiccup when hitting SYNC' is indeed a much lesser issue, but I'd still like to get rid of it if possible. Thoughts?
|
|
#
¿
Jan 12, 2011 03:24
|
|
|
Yeah, I wasn't sure if you were talking about extracting the WAV sample from the pad, or just pulling that pad out of the Drum Rack into its own track. I was going to suggest right-clicking the chain and 'Extract Chain', but it sounds like you achieve exactly the same by creating a new MIDI track and drag/dropping the pad.
|
|
#
¿
Jan 27, 2011 19:07
|
|
|
I believe the option is still available to 'Extract Groove' from a particular clip. That gets added to your groove pool under the clip's original name, and you can apply it (like you would with 'MPC 16 swing 58%' or 'SP1200 8 swing 55%' etc.) to your other audio/MIDI clips. I never really use it though, so I can't really tell you how reliable it is.
|
|
#
¿
Feb 6, 2011 21:32
|
|
|
Hexum posted:One thing I can't figure out how to do is to create an acapella from a track that I love in order to produce my own mix with the vocals. Is this possible to do? I've seen tutorials on how to create instrumentals by removing vocals, but most of these left serious distortion on the leftover track. Not at all a dig at you, but I really am amazed at how often this comes up. The process you're looking for is 'phase inversion'. The theory behind it is that if you take two identical waveforms and turn one of them upside-down, since the electrical current (and the speaker cone) can't be in two equidistant places at once it will cancel out to 0 amplitude. So what you're looking for are two files: The original piece with vocals, and an instrumental of the same (or comparable) quality, and the same length. Zoom in really far, and line up the instrumental with the original. Then flip its phase (in Live, the Utility device does this). Since identical content should disappear or drop immensely in volume, you're left with the difference: The vocal.
|
|
#
¿
Mar 12, 2011 23:20
|
|
|
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 |
|
#
¿
Apr 6, 2011 05:19
|
|
|
RivensBitch posted:Check your settings in the virus control GUI. The virus has a few different output modes, you should be able to set it to 3 stereo outs through USB and one more through the analog outputs on the virus itself (if you have a multi channel audio interface you can route these back in through those). Then in the virus software GUI you can set each instrument to any of the four output options, they default to USB 1/2. This. Except you can accomplish the last part with an instance of External Instrument, as well. I use my TI's USB outs when 'producing', and the analog I/O only when 'performing'. As long as you have a MIDI track with the Virus Control plug on it, just create another MIDI track with an External Instrument on it, point that at the Virus Control track and select a different MIDI channel (different channel on the Virus). Go back to the VC plug-in and make sure that Virus channel is coming out the USB output pair that corresponds to that External Instrument. All of this stuff is under the 'Common' page of Virus Control. Naturally, RivensBitch is right - it's generally better to 'burn' your Virus tracks when producing, as you can run into latency as well - these days I find myself regularly burning 16 bars of a synth from my TI and having to warp parts of it right away to get it back in time - especially when dealing with the TI's sweet-rear end arpeggiator.
|
|
#
¿
May 4, 2011 18:46
|
|
|
|
| # ¿ Apr 28, 2024 22:34 |
|
|
Organize your Reason sets and export the MIDI data. Create the all the necessary tracks in Live with instances of ReWire that are pointed at the right devices; taking audio from the right places. Drop in your MIDI file and go. It can be labour intensive but it's the most straightforward way to hand over full control to Live. Make sure you delete or de-activate all the MIDI in the Reason set or you might just spend hours trying to figure out why a knob is 'moving on its own'. If you get used to Live, after a while you'll probably just use Reason as another instrument - I have loads of ReFills so it's my go-to for most sampled stuff. Make a template Reason set with a whole bunch of instruments you typically use, wired up to certain outputs. In Live you can also save instances of 'External Instrument' (ReWire I/O devices) that are pointed at those instruments. That makes the ReWire process a little quicker, at least.
|
|
#
¿
May 23, 2011 06:08
|
|