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Apply the following Saturation concepts in the video below to the Mixing Practice Project you've been working on.
There are many types of saturation to make your tracks sound thicker, and more full. Oftentimes when producer complain about their mixes not being "loud enough" they aren't applying the proper saturation techniques to their tracks (or limiting).
Download the 2 PDF's below to get a better understanding of distortion and how to use it:
Click here to download this cheat sheet and apply it to your projects.
In this lesson we'll look at how to create "space" in your mix using the Crystal Lights Mixing Practice Project.
As you watch the video, here are a few key things to remember:
Stereo vs. Mono
Panning individual tracks to create "space"
Phasing - Correcting phase when recording w/ 2 microphones on the same instance (if phase is cancelled)
Referencing your entire project in Mono (with Live's Utility device)
In the next video, we'll look at a few tips and tools in Live for making your tracks sound big and wide, as well as mixing tips for tightening low frequencies (sub bass) using:
Utility
Chorus-Ensemble
Delays & Reverbs
iZotope Ozone Imager plugin (Free Download HERE)
Click here to download this cheat sheet and apply it to your projects.
Reverb is everywhere. How you use it and the different types of reverbs you use can be a game changer for creating "space" in your mixes. In this video, we'll dive into the different kinds of reverb and when/ how to use them.
In this video, we'll look at the following Reverb types:
Room Reverb
Large Hall / Special Effect Reverbs
Plate Reverb
Ableton Live gives us Reverb audio effects, including:
Reverb
Hybrid Reverb
Convolution Reverb (Need Live 11 Standard or higher, or Max For Live)
Pro Tip:
Whenever referencing, I recommend using headphones to dial-in your reverb (or delay) settings.
Below are 2 guides to get familiar with different ways you can apply delay to your tracks.
Referencing is when you compare your mix to other tracks on multiple speakers. It's probably the most important thing you can do when it comes to finishing your tracks.
Mastering is the final stage of mixing your tracks before being released into the world. It's basically all the mixing concepts we've covered in this lesson, but way more advanced on steroids.
Just remember, you're only as good as you can hear. So that's why the best Mastering Engineers have awesome acoustic-treated rooms with speakers and headphones to listen.
In this video, I'll show you some referencing tips as you finalize your tracks before the mastering process.
DOWNLOAD SWISS ARMY METER HERE (As shown in the video for measuring loudness)
We should by now know the basics of referencing your tracks in Ableton Live. In this video, we'll go deeper with how to get a better overall mix and final master. In this video, we look at workflows using Ableton Live's Spectrum device and other 3rd party tools you might consider.
Mentioned In This Video:
Ableton Live - Spectrum audio effect
iZotope Tonal Balance Control: (I recommend the Music Production Suite Bundle)
iZotope Imager 2 (Free)
Setlist Pro is a max for live device you can use to trigger and control playback in Arrangement View at any point in time with Ableton's Locators. Watch the video below to learn more about how to use this to trigger songs throughout your set.
(Heads up you must own Ableton Live Suite to run this because it uses a program called Max For Live)
(click video gear icon to adjust playback speed)
Here's a useful Max For Live device to use in Session View. Ableton Live doesn't easily allow you to have smooth tempo changes between different Scenes, such as transitioning between songs. This device makes this easier. Place it on a blank MIDI track and use Clip Envelope Automation to program smooth tempo changes between scenes.
(Heads up you must own Ableton Live Suite to run this because it uses a program called Max For Live)
Performance Pack (Ableton Live 12 Suite or higher)
Four incredible Max for Live devices are included in the Performance Pack by Iftah, which is part of the Ableton Live 12 Suite. All of them are intended to make using Live for live performance simpler, more intuitive, and hands-free. In this tutorial, we will examine Performer, Variations, Prearranger, and Arrangement Looper in detail.
You can download it inside Ableton Live’s Packs tab in the Browser.
Watch this video on how to use the Performance Pack:
Yes! When you choose to downgrade, you will see it take effect on the next recurring monthly/ annual payment date. Your recurring payment date remains the same. So you're not losing money.
If you choose to upgrade, you're charged a pro-rated amount at checkout based on the number of days left in the current payment period.
You can book a private lesson on this page.
Join the Pro Membership to receive up to 20% off the first 3 lessons (after the free trial).
Join the membership here to save on lessons.
You can send an Ableton Live project you're working on to receive help before meeting. You also get a video recording of the session with any project edits made.
All lessons meetings occur via Zoom.
There are two membership options depending on your skills and needs....
CONNECT MEMBERSHIP PLAN:
If you have some experience using Ableton Live, but struggle getting the results you want on your projects, or want to deepen your skills in a specific area on a budget, I recommend the Connect Plan. This gives you access to:
LIVESTREAMS - Replay livestreams with Ableton Certified Trainer -Dan Giffin sharing production tips on a variety of topics.
PRIVATE DISCORD COMMUNITY – 24-hour Ableton support for all your questions, weekly track feedback by Dan Giffin (and other producers), VIP access to member community, and more.
DOWNLOADS – Ableton project templates, effects racks, sample packs, instruments, and more to expand your music library.
CLICK HERE TO JOIN CONNECT MEMBERSHIP
PRO MEMBERSHIP PLAN:
This is the most affordable way to grow you Ableton skills.
EVERYTHING IN CONNECT MEMBERSHIP, PLUS...
COURSES – Access hundreds of videos teaching Ableton Live from music production in the studio to performing live on-stage.
DISCOUNTED PRIVATE LESSONS - 40% off your first 3 private lessons with Ableton Certified Trainer -Dan Giffin. Get 1-on-1 help with your projects. ($60/hour with discount)
SAVE ON ABLETON LIVE SOFTWARE – Save up to 40% purchasing Ableton Live. More info here.
Login and visit the member homepage
Select My Subscriptions
Update your payment method, or cancel your membership. You'll receive an automated email notification confirming this change. If you need help finding the right content to grow your skills producing, performing, etc, you can email Contact@LiveProducersOnline.com and Dan will get back to you to help you reach your goals!
This course assumes you have finished tracks you want to perform live. If not, don't worry. I'll give you tracks to practice with!
Before we jump into the good stuff, there are several important things you should know.....
STEP #1 - HIGH QUALITY AUDIO IS KEY
When performing original music, make sure your songs are produced at professional quality. This is especially important if you perform your original music with music by other professional artists in the same live set.
I recommend only performing songs that are mastered. (Not sure what mastering is? Read this) I always test my mixed tracks on a variety of speakers before performing.
STEM MASTERING:
After a song is finished, and you want it mastered, I recommend sending the individual tracks for that song to a mastering engineer for Stem Mastering.After that engineer masters the individual tracks (drums, bass, guitars, synths, etc) they will send you back those individual tracks to import into your Ableton Live set. Make sure you let the mastering engineer know the specific tracks (stems) you need back for your live performance.
This gives you more control over what you perform live. If you write original music and don't know any mastering engineers, there are freelance websites like SoundBetter.com to help you find a person you like in your genre.
If you use websites like MultiTracks.com (many churches use this) or Kareoke-Version.com to get individual audio tracks (stems) of popular cover songs, these tracks are most likely mastered already, so you don't need to worry about mastering.
MAKE A PLAN OF WHICH INSTRUMENTS ARE BEING PERFORMED LIVE
Create a plan of which instruments you want to perform live with vs. tracks played in Ableton Live. Consider all the situations in which you perform on your own or with a band.
This will help prepare your Ableton Live set. If you're not sure what will be performed live, or have rotating band members, that's fine. I'll show you how to create a versatile Live template that gives you flexibility to quickly turn on/off certain instruments depending on your setup.
See this Google Sheet with examples of how you might consider grouping your tracks into mastered stems. You can reference this later on with your own music.
In the next lesson, I'll show you how to import these mastered stems into Ableton Live!
For the next few topics, download and use these audio stems to practice with.
Sometimes you might be working with a ton of stems.
Playing tons of audio clips in Ableton Live can make your computer cry if it doesn't have the processing power. Keep an eye on the CPU meter in the top right corner Live's screen (see image below). I get nervous when I see it above 30-40% performing on stage.
Before we get started, you'll need to turn off Auto Warp Long Samples in Live's Preferences. You only need to do this once. (See below)
In the video below, I'll show you how to condense all your song's stems before importing them into an Ableton Live template, which we will be performing with later on.
(click video gear icon to adjust playback speed. You can also fullscreen video player)
Now that you have the tracks/ stems ready to perform, let's build a new Ableton Live template you can use.
Before importing the audio, there are several things you should know about the song/ stems you're using...
BPM (beats per minute) - What tempo was your original song recorded at?
Does the beginning of your audio tracks immediately start on the downbeat? (1st beat of the 1st measure)
Are you wanting to keep the song at the original BPM, or speed up/ slow it down?
Ableton Live Warp Modes - Each audio clip might need Warped; this is how Ableton Live adjusts an audio clip to match the master tempo, and can affect the audio quality being played.
Let's take a look at these things in the video below...
Most professional bands use a click track to help everyone stay in-time while performing. Varying tempos in a song can make this tricky when setting up tracks in Live. Most of the time, this should not be an issue....
In this video, we'll look at how to create a click track using MIDI in the original project, then we can later import it into our Ableton Live set we're performing with.
Most of the time, you can simply create a new MIDI track in the project you're performing in, and create a click sound to play along with.
PRO TIP: The default Warp Mode in Ableton Live is "Beats". Beats Mode can work on all audio clips....HOWEVER, when you slow down/ speed up audio from its original recorded tempo, you can have weird sounding "artifacts", and it degrades the audio quality.
If you're stretching the tempo far from the speed the audio it was originally recorded at, Complex Pro is a better warp mode to choose. It has a more noticeable effect on bass and lower frequency instruments.
The only trade-off with Complex Pro is it can work your computer harder if you have tons of audio clips playing at the same time.
Let's get started.
Download the Live 11 Keyboard Shortcuts here as mentioned in the video below...
(use video player controls to adjust playback speed and make video full screen)
I highly recommend hanging out in the Discord server. This is a great place to ask questions, get feedback on your tracks, share new things you're finding, post awesome memes, etc...
(I recommend downloading the desktop app, the mobile app is good too.)
Direct message me @DanTheMan or email Contact@LiveProducersOnline.com with your user name to get private member access to the #VIP-Member channels!
If you don’t own Ableton Live yet, I definitely recommend purchasing Standard or Suite versions! I'm a reseller and can hook you up with a major discount purchasing it direcltly HERE.
You can also download the free trial HERE to use for this course. You won’t be able to save projects or export audio after the trial expires.
How many computers can you install?
According to Ableton, “Purchasing a license allows a user to download the software on two computers owned by the license holder.”
However, you can contact Ableton support from your account on Ableton.com and request additional licenses. (I’ve requested up to 4!) I wouldn’t recommend handing out licenses to friends….it's a bad idea. You also might need those licenses later if your computer crashes, or you get a new one in the future.
Live is pretty easy to install. If you need help installing, check out this article on Ableton’s website with step by step instructions.
The APC40 MKii is one of the most popular MIDI controllers used today.
Although it's most popular in a live performance scenario with DJing, triggering visual effects and video, (check out the software Resolume Arena) this controller can also be used in the studio as a mixer or tool for quick automation and playback.
We'll look at its basic layout first, and then get familiar with workflows for both in the studio and live performance.
Ableton allows for you to authorize 2 of your own computers. If you need to authorize an additional computer, login to your Ableton.com account and contact support directly. (Click the help tab, and scroll near to the bottom to the Contact Support section).
If you're ready to purchase Live software, Live Producers Online is an official reseller, and can offer a cheaper price than most places such as Sweetwater and Ableton's website itself. Click here to purchase a full version of the software at a discount!
Ableton Live has 3 different versions; Intro, Standard and Suite (I recommend Suite). They share common features, but Standard and Suite have additional features, instruments, effects, and Packs. Max For Live is only available in Live Suite.
See the comparison breakdown on their site.
Yes. If both of those computers are yours. According to Ableton’s site,
“A regular Live license is intended for a single user and cannot be shared.
Each license covers the use of the software on two active computers owned by the registered user.
A new authorization may become necessary in the event of replacing essential hardware components (motherboard, hard drive, graphic card, etc.) or after an operating system reinstallation. In such cases, you will be informed by an automated email to your registered address and additional authorizations can be requested from your user account.”
If you want to know how to Sync 2 computers running Ableton, see Play Together with Ableton Link Video here.
To authorize Ableton Live, go to Preferences, Licenses Maintenance, then click “authorize at ableton.com.” You will then be redirected to Ableton’s site and asked to login to your account if you aren’t already. Once logged in, select the license to authorize. Click on “Authorize” and the ableton.com server will send authorization information to your computer.
Authorizing Live online
“Authorizing online is the easiest way to authorize, as Live connects directly to the Ableton server and authorizes automatically. To authorize online, you will need internet access for the computer on which you have installed Live and an internet browser.”
Authorizing Live offline
“If the computer on which you’ve installed Live is not connected to the internet, follow these instructions to authorize:
When starting Live, you will see an authorization dialog. Please click on “No Internet on this computer”:
Live will display another dialog window in which the Hardware-Code of your computer is shown, as well as further information regarding the Offline Authorization process
You can save this information as a text file to make it easier to refer to in the following steps (just click on “Save…” on the bottom right corner).
Take your hardware code (or the saved text file) as well as a portable storage device such as a USB key to a computer with an internet connection.
On the internet-connected computer, log into your Ableton user account.
Enter your hardware code from Live and click “Download File.” The Ableton server will generate an authorization (.auz) file for the computer you want to authorize Live on.
Save the authorization file to your portable storage device and bring it back to the computer Live is installed on.
Open Live 10 and drag the .auz file onto the authorization dialog”
According to Ableton’s site,
“A regular Live license is intended for a single user and cannot be shared.
Each license covers the use of the software on two active computers owned by the registered user.
A new authorization may become necessary in the event of replacing essential hardware components (motherboard, hard drive, graphic card, etc.) or after an operating system reinstallation. In such cases, you will be informed by an automated email to your registered address and additional authorizations can be requested from your user account.”
Yes.
1) To process a license transfer, the current license owner can login to their account and click ‘Transfer ownership of your license to another person‘:
2) Fill out the recipient’s email address, choose the license you wish to transfer and click ‘Submit’:
3) An email requesting confirmation will then be sent to your email address (check your spam folder or ‘All Mail’ in Gmail):
4) Click ‘Confirm license transfer’ in the email:
5) You will then be redirected to Ableton.com to confirm the transfer:
6) A final email will then be sent to both parties to confirm once the license has been transferred.
“Please note that only an entire Live license can be transferred: all Live versions and corresponding serial numbers contained in the license will also be acquired by the buyer. This applies to Suite and upgrades; you can only transfer the whole thing.”
Yes, it is convenient to DJ from CDJ’s using RecordBox, or DJ with Traktor or Serato, but Ableton Live offers way more versatility in the Live realm in a way that no other program can.
You can take your live performance to a whole new level. Instead of just playing your Deck A and transitioning back to your Deck B all night…Ableton Live can do that and more. What if you wanted to play instruments along with your backing tracks, and have a platform that can support third party plugins on your backing tracks as well as your live inputs? Ableton can do it all.
Everyone is a DJ nowadays, Ableton will help you stand out for the right reasons.
Ableton Live 10 and Live 11 Suite automatically have Max for Live included during the original installation of the Ableton software, so no additional download or installation of Max for Live is necessary.
If using Standard or Intro versions, you can login to your account on Ableton.com and purchase and then download it from there.
Ableton Live can use as much RAM as your computer has to supply or Ableton Live needs. Having a computer with at least 8GB of ram is recommended, especially if you intend on using third party VST plugin-ins like Serum, Kontakt, etc.
According to an article on Ableton’s site:
“Due to persistent out-of-memory crashes during use, Ableton will discontinue the 32-bit version of Live for new updates of the software from late 2017. The 32-bit version of Live (like all 32-bit applications) can use a maximum of 4GB of RAM only, which can quickly be exceeded when using large multisamples or memory-hungry plug-ins, resulting in crashes.”
If you only have 4GB of ram, I suggest upgrading!
Ableton takes 6GB of hard drive space to install. And at least 80GB if you have Live Suite and download all the Pack Content.
I highly recommend getting at least 250GB or more space for producing music.
A multicore processor (preferably an Intel i7) with 8 GB RAM is recommended at the absolute minimum! It also depends what you're wanting to use Ableton Live for, as some workloads with more VST plugins will tax your computer harder, as well as playing back/ recording tons of audio at the same time.
MacOS X 10.7 or later (with Live 10, MacOS 10.11.6 & up) , or PC Windows 7, 8, or 10;
You’ll want to have USB ports on your computer, or consider buying a computer dock. (Make sure it has great reviews and is compatible to your computer type). You can find many adapters for Thunderbolt 3 to USB, and most computers are continuing to adopt Thunderbolt 3 (or commonly referred to USB-C) ports now.
To troubleshoot issues with Live, you can reset to default settings in case the problem has been caused by corrupted setting files. Resetting Live won’t delete any important files, such as project files and presets.
Note: Resetting Live performs the following actions:
Your template set project file will be erased if you have one Live’s preferences will be deleted; audio and MIDI hardware needs to be setup again, plug-in support needs to be re-enabled and will rescan, custom preferences need to be set again.
If you don’t want permanently delete Template.als and Preferences.cfg, you can copy those files to another location on your computer. If the reset has not solved the issue, then you can place them back into their former locations.
In order to perform a full reset of Live, please take the following steps:
1. Close Live 2. Delete the files “Preferences.cfg”, and if available “Template.als” and “Undo.cfg” in the following folder, where Live x.x.x corresponds to the version number of Live installed on your computer.
Windows: Users\[username]\AppData\Roaming\Ableton\Live x.x.x\Preferences\
Mac: Users/[username]/Library/Preferences/Ableton/Live x.x.x/
Note: These folders are hidden by default, here’s how to access hidden folders on Windows and Mac.
3. If you have previous versions of Live installed you should also delete the same files in their respective folders.
4. Restart Live.
Welcome to this course! By the end of this course you should have a solid understanding of how to start DJing in Ableton Live (and with live instruments).
If you have questions or need help, feel free to post in the Discord server. As an active member, you get special access to the #VIP channels with ongoing support.
(I recommend downloading the desktop app, the mobile app is good too.)
After finishing this course, consider watching the DJING IN ABLETON LIVE course with more workflows and tips for performing!
Live has a lot of functions we’ll continue to uncover throughout this course.
By the end of this course, you’ll be able to navigate all the main functions and establish your own workflow producing music. For now, let's look at the basic layout of Live's interface.
(click video gear icon to adjust playback speed)
Ableton Live’s browser is where we can play with instruments, effects, external software (called third partyplugins or VST's) and organize our own custom folders.
The User Library and Collections in the browser are where we can store our favorite instruments, plugins, and samples to quickly use later. Having a well organized browser is KEY to producing faster…
At some point, you’ll want to export your music to share with your friends, your mom, or upload for distribution (Spotify, iTunes, etc). There are several options for exporting audio that we’ll cover in this next video.
You'll always be exporting audio from Arrangement view (although it is possible to export from Session View)
I encourage you to take your music wherever you go as you’re producing it. I export my half finished projects and upload to Dropbox, and then listen to it on my phone while at the gym or driving in my car. This helps me get inspired with new ideas, and I hear things I didn’t notice before on different speakers. Then I’ll go back and make changes in the project.
Fun fact, if you wanted to, you can also easily drag/ drop audio or MIDI clips straight from your Ableton project to your computer desktop, and save MIDI files, or drag an entire track in a project into your User Library to save for later.
Let’s take a look at how to export audio from Ableton Live…
If you want to record audio into Ableton Live, such as with a microphone or your guitar, you need an audio interface. There's a ton of different options and brands out there that make interfaces depending on your needs.
Choosing the right audio interface depends on 3 main things:
1. Speed/ Latency. There are different connection speeds with interfaces today that determine the time between playing your live instrument and the playback of what you’re hearing inside Live.
The most common audio interfaces in studios you’ll find today in terms of speed are below (In order from fastest to slowest connections into your computer):
Ethernet
Thunderbolt 3 (also called USB-C)
USB 3.0
FireWire
USB 2.0
I recommend purchasing a USB-C or USB 3.0 interface. It'll definitely help with latency (the delay from the time you play audio to the time you hear it back)
2. Preamp Quality. The purpose of a preamp is to boost low level signals to the “standard” loudness of your recording gear. Audio interfaces already come with built-in preamps. And usually, they’re good enough to get you started. Oftentimes more expensive interfaces come with better preamps.
3. Number of Input/ Output Channels. How many instruments/ tracks do you need to record at the same time? This will determine how many inputs you need. For example, I like to record live acoustic drums with 6 microphones, so i need at least 6 inputs.
Here's a few companies that make audio interfaces I love and recommend based on your budget....
Focusrite (See their Scarlett series)
Universal Audio (See their Apollo series)
Audient (See their iD series)
MOTU (See their M or Ultra series)
If you're looking for a deal, I often shop on Reverb.com
In this first video, we'll dive into the basics of setting up a blank Ableton Live project for DJing.
DOWNLOAD ABLETON DJ TEMPLATE HERE
(click video gear icon to adjust playback speed)
When DJing a song, the audio file quality you choose is super important. I highly recommend using WAV audio files, as they are the standard.
When performing with songs that you haven't produced yourself, it can sometimes be difficult finding high quality WAV's. In this next video, I'll share some insights where you can find quality tracks to use when preparing your DJ set.
Worst case scenario, I've used iTunes to download tracks that were unavailable anywhere else, the quality is OK...but not my first choice.
Although there's tons of software available today for DJing, there are two programs I highly recommend purchasing to use with Ableton Live - Platinum Notes and MixedInKey.
You don't have to use them, but I find using them makes for a quicker workflow and helps me build better DJ sets. Especially with Mixed In Key.
As a member, you can save 30% on all MixedInKey software. Navigate to the DEALS page to learn more.
MixedInKey
- Helps you quickly find the key, tempo, energy, and cue points for songs.
- Build a quick set list and know how songs will transition together.
Platinum Notes
- Makes sure all the songs in your set are at a well-balanced volume
In this video, we'll look at how to use these programs to setup songs for your DJ sets
(click video gear icon to adjust playback speed)
Now that you have the songs you’re wanting to perform, we’ll look at the different ways to set them up to DJ. Those that choose to DJ with Live have the ultimate creative flexibility with how they perform each track.
When I setup my songs for live performance, I think of myself “remixing” the tracks by adding layers, effects, and new sounds to re-create the song. It’s way more fun to create the song as it’s happening, making it your own, rather than simply hitting “play” and transitioning existing songs together. Anyone can hit play and match songs together, which is why there are billions of DJ’s today.
Let’s review several workflows to help you organize your tracks and begin creating an awesome set in Live...
One major advantage in using Ableton is it always wants everything to sync perfectly in time together. In order to do that, we need to tell Live the original BPM (beats per minute) of the audio we put into it, if it’s not already embedded into the file. (most samples you buy have this, which makes it easy)
Let’s look at how to import songs into Live in this next video using the warp feature to sync the song to Live’s tempo.
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Traditionally DJ’s will set cue-points throughout a song to playback a specific section of that song at any given time. With Live, we can “set cue points” by breaking a song into multiple clips in Session View using the clip’s loop bracket.
After we’ve broken the song into multiple clips or “cues”, we can arrange them into scenes in Session view.
In this next video, I’ll show you how I setup my songs using multiple clips organized into multiple scenes to perform.
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Transitioning between songs is what sets apart the average DJ from a good one. You want to think about many different things as you arrange your songs in a set list, such as…
the key of the song
energy level
tempo
how you plan to transition from song to song
The Camelot Wheel is a great reference for knowing how the key of you songs will transition together. MixedInKey can analyze multiple tracks and is a great reference for quickly comparing your songs. We’ll look at this much deeper in the next topic.
In this next video, we’ll look at how we can setup songs in your project to transition well together across multiple scenes…
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A good DJ goes much deeper than randomly picking a song that will fit in a setlist. There can be a true science behind developing an amazing set. This is where harmonic mixing can be crucial.
As you can see in the chart below, some keys in the Camelot Wheel have a great level of compatibility, and you can intentionally create emotions for your audience…for instance, a strong “energy boost” may get more people to dance, while a slight drop can create a deep effect and “a more settle vibe”, a mood change can brighten or darken the atmosphere, and keep things interesting to grab the listener’s attention.
Notice that while the keys boosting the energy are efficient, the corresponding ones dropping the energy remind very subtle: there is not much difference between the Energy Drop -, - - and - – -
Globally, pay attention to the keys which are not in the “Perfect match” column, as their compatibility is not always guaranteed (especially the keys in brackets: very risky! —> mix segments without melodies and/or mix fast with these!). Pay attention to the natural energy of a track: you can’t mix tracks with various energies and expect the combos of keys to work well…
Note: the famous DJ -David Guetta remarked that if you add or subtract 4 keys, you get sometimes an interesting combo. In use, I noticed that it does work sometimes on occasion, but i don’t always trust it to work.
Every DJ or artist has their own workflow. Up until now, everything we’ve done has been focused performing in Session View. However, Live gives us the ultimate creative flexibility by allowing us to work in both Session and Arrangement views.
In this video, we’ll look at working in Arrangement view to edit songs and compose new material in our DJ performance.
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Live gives us endless possibilities for adding effects to our songs. Whether we decide to use Live’s presets in the Audio or MIDI Effects folder in the Browser, or we create our own custom effects, this is essential for creating movement, transitions, and interesting textures throughout each song.
In this video, we’ll look at some Audio Effects Rack presets and how to use and edit macro controls to enhance your tracks.
At some point, you’ll want to consider buying a MIDI controller to DJ with Live. Any MIDI controller can be used in Live, but there are a few that are ideal for DJing. In this Lesson, we’ll look at how to setup controllers in Live and use MIDI Mapping to launch clips, play effects, and more.
One of today’s most popular MIDI controllers for live performance with Live is the APC40. I highly recommend getting it, they are the best for live performance! We’ll also look at the Looptimus Foot Controller for those that want to trigger clips, effects, and sounds with their feet. (Ideal for playing instruments; not having your hands free).
In this video we’ll look at how to use MIDI Map Mode, and manually change scenes in Live’s Session View.
Although you can use any MIDI controller to DJ with Live, not every MIDI controller will be designed for it. I’ll show you in this next video how to map different scenes to a controller. (The APC40 and Ableton Push controllers are already designed for this.)
The Looper is a brilliant Audio Effect for looping instruments. You can place it on either an audio or MIDI track and manipulate the playback of sound on that track. This can be ideal for those playing instruments while DJing.
In this next video, we’ll look at the basic functions for using Live’s Looper effect…
Check out this video of the artist FKJ for a perfect example of a DJ using Looper in action in addition to the APC40 controller.
You can MIDI map any MIDI controller inside Live. In this video I’ll show you how I perform with Looptimus using the Looper and mapping certain effects.
I’ve tried many different foot controllers for DJing in Live. The most simple and reliable MIDI foot controller I’ve found is the Looptimus. The Looptimus controller is an ideal controller for those having their hands occupied. We’ll look at its basic features in this video.
Live makes it easy to automatically play clips and effects, requiring less movements by you when DJing in the moment. I’m a big believer in keeping things simple, especially when it comes to performing live to protect yourself from any major accidents.
In this lesson, we’ll looking at a variety of ways we can automate our live set.
Automation is one of Live’s most valuable features, and doesn’t get used enough by new producers. I usually do a fair amount of automation in my Live DJ sets. With the release of Ableton Live 9, you can now do automation within clips themselves, which make for an amazing transition between songs and creating interesting movements with effects.
In this video, we'll look at the following...
Renaming Scenes - You can rename scenes to automatically change the project tempo and time signature for clips in a scene.
Creating Transitions with a clip's loop bracket - Instead of ending each song with dead silence, using the Loop bracket on individual clips in a scene can help with transitioning to the next song on the following scene. It's great for separating a song into several sections, so you can skip around in a song while performing live across multiple scenes.
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Creating transitions between songs is definitely important during a live set. In this video, we'll look at the following:
How to break up multiple scenes to improvise performing different sections of a song
Automatically having clips play in a certain order using Follow Actions
Using Key Mapping to trigger scenes, clips, and other Live parameters throughout your set
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If you’ve previously recorded something in a track in Session View, then toggled to Arrangement View, the track will be greyed out. This is because it is still playing that same clip in Session View while you’re looking at Arrangement View.
You can enable all tracks to only play in Arrangement view by pressing the orange "Back To Arrangement View" button in the top-right corner of the screen.
Session View is the default view when opening Ableton Live. It serves as both an “idea board” for musical clips or phrases as well as a way to trigger those same musical clips for live performance. The workflow here is usually top to bottom.
The TAB key on the computer keyboard toggles to Arrangement View. Arrangement view is the timeline view that all DAW’s have. The musical ideas from session view can be copied or recorded into Arrangement View to linearly write a song from left to right. You can record new ideas into Arrangement View as well.
Ableton Live has many quality stock instruments that come with the program and also supports third party plugin instruments.
To load stock instruments:
Simply click on the Instruments tab in the Live Browser (the left vertical panel of categories). Once the Instruments category is selected, you will see all of the available types of instruments. Click on the arrow to the left of an instrument type, for instance “Analog.” Inside “Analog” you will see different presets organized by sound such as “Bass” or “Piano and Keys” Click any .adv preset to load that instrument into a new track.
To load third party plugins:
(assuming you’ve already installed them on your computer), the next thing you need to do is make sure you’ve pointed Live to the folder where you installed your plugins. YOU ONLY HAVE TO DO THIS ONCE.
On Windows, for example you might install your plugins to C:\Program Files\VSTPlugins, but it completely depends on where the specified the location is when you installed the third party plugins. Then go to Options, Preferences, File Folder. Turn On “Use VST Plug-In Custom Folder,” then click the “Browse” button underneath and point to the folder where your plugins are stored.
On a Mac, the process is similar. Go to Live, Preferences --> File Folder. On Mac OS, Ableton Live understands 2 different formats of third party plugins; Audio Units (AUs) and VSTs. These formats are very similar and you won’t notice much difference between them. Most plugin developers will have installers that offer both formats. However, Audio Units do not exist on Windows. If you are a Mac user and want to collaborate with Windows users, use VSTs so that your projects are compatible. On a Mac, third party plugins will be installed in a premade system folder “Library\Audio\Plug-Ins.” Audio Units are stored under the subfolder, “Components.” You can turn on both Audio Units and VSTs from the File Folder Preferences. In Live on a Mac, you can also specify a Custom Folder for VSTs in addition to the system folder.
Once your plugins are enabled and pointed, on both Mac and PC you can easily access and load them from the Plug-Ins tab in Live’s Browser. You can click and drag them to a desired track. Remember, there are midi only Plugins that are virtual synthesizers (these go only on midi tracks), and there are audio effect plugins that can either go on an audio track or on a midi track after the synthesizer instrument.
Ableton Live has 3 different options to monitor a track; Auto, In, and Off. “Auto” will allow you to hear the audio input (post fx) of a track only if the track is record armed. “In” will always allow you to hear the audio input (post fx) of a track regardless of whether the track is record armed or not. “Off” will mute the audio input from that track. Also note that when monitoring is set to “In”, you will not be able to hear the playback of a recorded clip until you switch monitoring back to Auto.
This monitoring behavior is also the same for midi track input for played notes.
Pro Tip:
Monitoring tracks as IN or AUTO will increase your computer workload. Oftentimes it's recommended when recording audio realtime to monitor tracks through your audio interface, and set Ableton's track monitoring to OFF. Then when finished recording set monitoring to AUTO so you can hear the audio playback that you recorded with effects you load on that track.
Ableton Live Suite versions include a free download of Max for Live. You must have Live Suite in order to use Max for Live.
In Live 9 Suite, you can login to your account on Ableton.com and download Max for Live, or purchase it if you have a lesser version than Suite (such as Standard or Intro).
Ableton Live 10 and Live 11 Suite automatically has Max for Live included during the original installation of the Ableton software, so no additional download or installation of Max for Live is necessary.
To record midi in Ableton Live, you must first have a midi track armed. To arm a midi track, in session view click the arm button, which is located below the track’s solo button. To arm a midi track in arrangement view, click the arm button which is located to the right of the track’s solo button. You’ll also need to make sure that track input for the midi device is your playing on is enabled in Live’s midi preferences. (Live --> Preferences or on PC, Options, choose Preferences, then click track on the midi input for the desired midi device). You can also play notes from your computer keyboard by clicking the piano keyboard icon which is in the upper right corner of the screen. The shortuct to enable your computer MIDI keyboard is M.
Once the track is armed and your midi device input is enabled, you should be ready to record played notes. In session view click any of the circle record buttons on the available clip slots on the track, then play notes. Click the square stop clip button on that track to stop recording. In arrangement view, click the global record button at the top center of the screen (providing that the desired track is armed. Click the global square stop button at the top center of the screen to stop recording.
To record the midi output of one track to the midi input of a new midi track, simply set the midi input of the new track to the name of the existing midi track, then arm the new midi track. Again, if you’re in session keyboard by clicking the piano keyboard button which is in the upper right corner of the screen, to the right of the Key button.
Once the track is armed and your midi device input is enabled, you should be ready to record played notes. In session view click any of the circle record buttons on the available clip slots on the track after the existing track is playing. In arrangement view, click the global record button at the top center of the screen.
Warping is the terminology used when referring to stretching audio in Ableton Live.
Warping is the way Live will stretch audio to a specific grid. The best analogy is this…You have a ruler, a rubber band, and some thumb tacks. The ruler is a timed based grid of evenly spaced intervals. The rubberband is the audio clip. It can be stretched or shrunk down to a specific space between intervals. The thumb tacks are Warp Markers. These serve as a way to snap or pin the audio to those specific intervals.
Ableton Live will work with ANY midi controller, however there are 10 really good ones that I love to use....
These are controllers that are automatically mapped to certain parameters inside of Ableton Live.
Ableton Push 2 Novation Launchpad Pro Akai APC40 MKII Akai Professional Advance 49 Arturia Keylab 49 Akai MPK Mini MKII 25 Native Instruments Machine MK3 DJTechTools Midi Fighter 3D DJTechTools Midi Fighter Twister Novation LaunchControl XL
Yes, it is convenient to DJ from CDJ’s using RecordBox, or DJ with Traktor or Serato, but Ableton Live offers way more versatility in the Live realm in a way that no other program can.
You can take your live performance to a whole new level. Instead of just playing your Deck A and transitioning back to your Deck B all night…Ableton Live can do that and more. What if you wanted to play instruments along with your backing tracks, and have a platform that can support third party plugins on your backing tracks as well as your live inputs? Ableton can do it all.
Everyone is a DJ nowadays, Ableton will help you stand out for the right reasons.
To Freeze or Unfreeze a track, simply right-click on the track and select that option. Freezing a track will analyze that tracks output and take a "snapshot" of what it's hearing.
Freezing a track is beneficial for many reasons including:
Saving your computer's workload when running VST's or tracks with tons of effects.
Sharing projects from one computer to another if the person you collaborate with doesn't share the same 3rd party plugins/ VST's.
After Freezing, right-click the track and choose Flatten, this converts everything the track output is hearing into a new long audio clip on that track. Oftentimes it's better to set the Warp Mode of that new audio clip to "Complex".
If you’re sending an Ableton Live project from one computer to another, here’s a few quick tips on how to do it without having missing files or audio issues.
As mentioned in the video, be sure to….
Freeze all tracks using 3rd party (non-Ableton) plugins (Learn how)
Collect all and save; Zip the main project folder and send a URL link (Google Drive or Dropbox) (Learn how)
Also using collaborative software such as Splice Studio is another alternative way to share projects between computers than using something like Dropbox or Google Drive.
https://splice.com/features/studio
A Drum Rack is one of Live’s most versatile and popular instruments. The Drum Rack is made up of 128 “slots” that can playback audio samples, plugins and effects in a variety of ways. Drum racks allow you to build a huge library of sounds in a single instrument on a track. Some artists have built entire songs using nothing but Drum Racks!
Common uses include layering multiple drum sounds, manipulating audio loops, chopping up vocals, and much more.
You can create multiple chains in any of the drum rack’s 128 slots, and go really deep inside what you create with a drum rack. This allows users to take full creative control of playback individual musical ideas, while manipulating how they are performed, whether being a one-shot or audio loop.
A scene is a horizontal row of clips in Session View (both midi or audio) that contain sounds. All clips within this horizontal row can be played at once by pressing the corresponding play button of that row on the Master track. This was origninally designed for live performance playback in Ableton Live.
Ableton Live allows you to bus audio out from multiple tracks (say vocals, drums, lead synth, and pads) to a single track that has FX on it like Reverb or Delay (aka the Return Track). This Return track is only for FX.
You can independently dial in how much volume from each track will be sent to this FX track. Hence the term send and return. You would think that there are 2 stages, but there is really only 1 FX track in this scenario. The FX track then routes its audio to the master (by default, but you can change the routing to a track separate from the master using Sends on the Return Tracks themselves, or the Return Track's Input/ Output routing)
Note, Return Tracks act in parallel, meaning that even when a track’s set to send 100% to the return track, the original audio is still going to the master, meaning 100% wet is really 50% wet, 50% dry. When using effects on a Return Track, it's recommended to set that new effect's Dry/ Wet to 100%.
There are also Pre/Post buttons for Sends. These buttons are located on the master track, above the master fader in session view. Post is the default. When set to Pre, the input of the return track will ignore where the fader is set on the source track that is being sent to the return track. This means that if the source track’s fader is pulled all the way down, but it still is set to send some amount of its audio to the return track, you will still hear the return track fx. When set to Post, if the source track’s fader is pulled all the way down, you won’t hear anything on the Return track fx.
Warp Markers are the yellow notches above audio clips when warping is enabled. You can create new warp markers by clicking anywhere above the waveform. These serve as a way to align certain points of audio to specific time based intervals.
Live will also show tiny grey arrows at the top called Transient Markers. This is where transients are identified (aka when a new significant point of audio starts). This is Live’s suggestion on warp marker placement based on transient peaks.
When you freeze a track, the track will appear greyed out. To freeze a track simply right click on the track and click freeze. Live will make reference audio files in your project’s folder both for session and arrangement view midi and audio clips. Because the track is frozen and is now playing audio files rather than generating a sound real time, your CPU usage is reduced. You can then commit a track by flattening, which just pulls those reference audio files back into your project, replacing any devices that were in the frozen track.
Consolidate will combine 2 or more clips of either audio or midi. To consolidate a clip, highlight 2 or more clips, right click, then click Consolidate Consolidate is NOT a way to reduce CPU. It is designed to simplify and clean up your project file. When you consolidate 2 or more audio clips, a new audio clip will be created that replaces the old. Likewise a new midi clip is created to combine 2 or more midi clips. Consolidate is ALWAYS PreFX. Meaning the devices on a track will still remain after consolidating.
The easiest analogy of Max For Live is it being "digital duct tape".
Max for Live is a visual programming environment that allows users to build custom instruments and effects for use within Ableton Live.
Oftentimes, advanced users will create brilliant solutions to common problems such as, BeatSeeker, which allows Ableton’s global tempo to be synced to the average rhythmic audio timing.
Max for Live now comes pre-installed when purchasing Ableton Live Suite.
The growing community centred around sites such as MaxForLive.com and IsotonikStudios.com are helpful and create a wealth of devices available in addition to the ones included within the Ableton Live Packs. Oftentimes, a device or effect will nearly do what you want but not quite…That’s where Max For Live can save the day.
Max for Live is only available in Ableton Live Suite, or purchase and istall it separately in Standard or Intro versions.
To add a Max For Live device to an Ableton project simply take the downloaded .amxd file from Finder or Windows File Explorer and drag it onto the desired track in Ableton Live. You can also additionally save this in your User Libary in a new folder you organize with your favorite effects/ instruments.
Consider This:
If you have a folder of Max For Live Devices (such as Users/Username/Desktop/MaxDevices), it might make sense to add that folder to Live’s browser by clicking “Add Folder…” at the bottom of Live’s Browser. That way you can add Max For Live devices to tracks directly from Ableton Live.
The session record button IS NOT the record button next to the stop and the play button.
The session record button is near the top center of the screen, next to the “new” button. This button is only available in Session View. When pressed, the session record button will record a new clip in all armed tracks (midi and audio) if an empty scene/row is selected. For midi clips, if you press the session record button and are playing an existing clip, you will OVERDUB new notes to add to existing ones.
Warping is the way Live will stretch audio to a specific grid.
The best analogy is this…You have a ruler, a rubber band, and some thumb tacks. The ruler is a timed based grid of evenly spaced intervals. The rubberband is the audio clip. It can be stretched or shrunk down to a specific space between intervals. The thumb tacks are Warp Markers. These serve as a way to snap or pin the audio to those specific intervals.
After opening an .als project which has missing files, Ableton Live will notify you that is has missing files with an Orange banner located in the bottom left corner of the screen that reads, “Media files are missing. Click here to learn more.”
If you click the word “here” on that banner, Live will take you to the Missing Media Files option that is a panel that will appear on the right side of the screen. In the Search Folder section, you can choose the folder where you keep your samples or the folder where you believe your missing files might be located, then select Go in the Automatic Search section.
If you specified the correct folder, in a few moments Live should find the missing files. Then I recommend "Collect All and Save" from the File tab to update the Project on where those files are located so you don’t have to go through that process again.
Collect All and Save creates copies of the sample files used to the project file folder so that all your projects audio samples and factory packs are saved into the main project's folder.
Ableton Live 10 has introduced a file handling improvement that automatically creates a Backup folder within a Project after a Live Set is saved.
This folder contains the 10 most recently saved versions of the Set. You can access the backups either via the Live Browser or directly from within the Project Folder on your hard drive. Watch this video for more info~
When sharing Ableton Live projects from one computer to another, you’ll want to do the following to prevent missing audio and plugins…
Freeze tracks using 3rd party plugins (right click on the track name –> Freeze Track)
Collect All And Save. Be sure to save the .als and other contents in the original project folder. See video below on how to do this.
Ableton Live lets you create a zip file of your project and the samples used, but in a smaller, condensed format. Read below and learn how to make an .alp file....
.alp stands for “Ableton Live Pack.”
It’s a zip file of your project and the samples used, but in a smaller, condensed format. Yes it is smaller than a .zip.
Why use it?
It makes it super easy to archive Ableton Live projects and share them.
How to make an .alp?
1. File –> Collect All and Save. -This will copy any samples, packs, recorded audio, and Max for Live devices to your project folder.
2. File –> Manage Files…
3. Click Manage Project (Center option on the right pane)
4. Click Create Pack (name your .alp)
If you find that you’re frequently missing files when opening project files, it’s important to save your project files using the “Collect All and Save” option (located in the same menu as “File, Save As.”)
Sometimes when saving a project for the first time, the folder path in which it saves can default to a previous Ableton Project folder...this is often the cause of missing files. Double check when saving projects this doesn't happen!
If you have a folder on your computer where you keep all your samples, and for some reason that folder is moved (or if you share your project with someone and they don’t have that sample folder), your project will have missing files.
To prevent this from happening, you need to “Collect All and Save,” which will copy any of the samples or files used in other folders on your computer into that project file’s folder.
The Ableton Push and Push2 are custom MIDI controllers instruments developed by Ableton to specifically work with Ableton Live. The Ableton Push (Gen 1) came out the at the same time Ableton 9 was released in March 2013. According to what was written on the back of the box that the Push came in “Push is a new instrument that solves an old problem: how to make a song from scratch. With hands-on control of of Melody and harmony, beats, sounds, and song structure, Push puts all of the fundamental elements of music making at your fingertips – and it fits in a backpack.”
The concept is how could you write electronic music on a computer without using a mouse.
Ableton furthered this concept with the release of the Push2 and Live 9.5 in Nov 2015. The Push2 has several improvements. One obvious addition is a colored screen instead of an LED screen. But the pads are more sensitive, the buttons are more recessed so it feels smoother to the touch, and the menus on the screen are just more intuitive to navigate.
It depends on your workflow.
The Push2 is a great controller for in the studio as well as performing on stage, however, it does not have a built-in crossfader.
If your workflow is more like a traditional DJ where you would need a crossfader (the Push2 can also work as a crossfader) BUT you want to “crab” with the crossfader, the APC40 MKii is a solid option that has become an industry standard.
Note that the APC 40 doesn't come with default buttons for finger drummer which is a selling point for DJ's using the PUSH 2 instead.
An Instrument Rack is a container device that can house multiple instruments (both stock and third party plugins) as well as insert effects after the instrument. You can layer multiple sounds to play at once in an instrument rack. These layers are known as chains. In this way you can have one clip of midi notes that send midi to multiple instruments. An instrument will also have 8 macro knobs, which allow you to map parameters from a nested device to the outer macro knobs.
An advanced trick in an instrument rack is to split the layers into zones so certain instruments only trigger at certain times.
Zones can be split by note range so higher notes play a different layer than lower notes.
Zones can also be split by velocity values so harder played notes will be a sent to a separate zone.
Lastly zones, also known as chains, can be split by “chain selector.” In this way, each individual chain can have its own value or range of values that it will be enabled. The orange chain selector value can be mapped to a macro knob so that you can have multiple instruments nested in a rack but be able to manage which one is on at a time. This can be very useful in a live performance scenario or even when producing (especially when you want various sounds to fire in rapid succession but only 1 or 2 at a time).
Sampler is a powerful instrument in Ableton Live that allows users to import audio and manipulate the key, timing, and playback of the audio sample. It is one of Ableton’s most advanced Instruments and has a profound amount of capabilities and options for sound design.
Common uses of the Sampler include;
Playback of one-shot samples and loops while manipulating the sounds of the sample being performed in the desired key/ pitch.
Altering the original sound of the audio sample for a unique effect or specific sound.
Layering multiple samples together to interact together.
The Sampler includes several modules within it that allow you to alter the sample using Filters, Modulation, LFO’s, Oscillators, MIDI routing, Envelopes, and much more.
In this lesson, we'll get familiar with the basics of creating fresh ideas inside Live.
In my experience, it definitely helps If you have two computer screens (one for watching & the other for practicing) as you go throughout this course.
if you're brand new to Ableton Live and producing music, don't get stressed or give up when you don't see instant results. If you put in at least 20 minutes (or more) a day practicing something in Live, and stay consistent, you'll reach your goals with music so much faster. You probably spend 20 minutes brushing your teeth + showering everyday.
If you promise to spend every day for 90 days practicing in Ableton Live, I'd be happy to do a free 30-minute private lesson after you reach that goal. Let's get after it.
In this longer video, let's look at how to start recording with MIDI clips using a bunch of Ableton Live's workflows and features.
I recommend taking notes for this video as it has a lot of important tips when recording new ideas!
We'll talk about key features including:
Quantization
Session Record Button
Recording MIDI & Clip Functions
Recording Audio & Setting up Preferences
Track Monitoring
Latency (working with your Buffer Size)
Having both Session and Arrangement View gives us more creative options for composing and performing songs. I typically start my new ideas in Session View, and then quickly copy/ paste/ organize them in the Arrangment View....but that's my workflow. There's no right or wrong with jumping straight into Arrangment View to start producing (more on that later).
You can easily copy/ paste clips between both views, or record anything played in Session View into Arrangement View in real-time.
We need to tell Live which view we want to hear. You cannot play a single track in both views at the same time.
Ableton Live includes tons of audio samples, instruments, and effects to work with using the Packs tab in the Browser. However, if you're looking to expand your library of sounds, consider joining a sample pack library subscription like Splice.com
You can download individual samples from Splice's desktop app and drag directly into Live. I'll share some quick tips on how to do this in the video below.
Don't forget to visit the DOWNLOADS tab in this course for more sounds and instrument options.
CLICK HERE to join Splice. Download the desktop app and get access to endless samples of guitar, drums, bass, and more that you can search by tempo / key/ genre.
You can also use Splice to download 3rd party plugins and rent-to-own them. (external software you can run inside Ableton Live)
You may want to make compositional changes to a song...repeat the chorus, cut out the verses, etc. You can easily do this in Arrangement view, and then copy/ paste them from Arrangement view into Session view to perform live. Ableton Live's Consolidate feature is useful for combining multiple clips on a track into one single clip, and then copy/ paste it into Session View!
When editing in Arrangement view, you'll notice the audio clips won't align with the background grid unless you have them properly warped to Live's BPM, unless the BPM is already set to what the audio clips were originally recorded at.
Once the audio clips are locked in to Live's tempo by Warping, you can speed up/ slow down the song. I usually warp my clips in Session view, and then copy/ paste them into Arrangement view for editing purposes. Then I'll throw them back into Session view to perform with.
(click video gear icon to adjust playback speed)
Using Live's Freeze and Flatten functions can be very useful when editing a song's arrangement with individual tracks. It can help prevent your computer working too hard when adding new effects and devices to tracks, keeping tracks in your project well organized, etc.
Here's a video explaining how to Freeze and Flatten, and various ways to use this helpful feature...
(click video gear icon to adjust playback speed)
Ableton Live makes it easy to edit an entire song in Arrangement view, and then transfer it to a single scene for playback in Session View. This function is known as "Consolidate Time to New Scene".
This can be extremely useful for capturing tempo changes in a song, setting up transitions between multiple songs, and preserving automation that is edited in Arrangement view. Consolidate Time to New Scene makes all this possible to playback the entire arrangement in Session view on a single scene for performing live.
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Live's Clip Envelope feature is a powerful tool that is often underutilized for setting up a live performance.
Like many DAWs (Logic or Pro Tools) you can draw automation to control track and device parameters. Clip Envelopes, on the other hand, are snippets of automation that only exist within Audio or MIDI Clips themselves. Clip automation can be used to change a clip's parameters and/ or devices on the track that the clip is playing.
You can use Clip automation for a variety of reasons, such as changing sounds and instruments between songs, triggering effects, muting and un-muting tracks, etc....
For example, I can run my live guitar into Ableton Live, and use a clip envelope to change Guitar effects between scenes/ songs. This is sometimes referred to as a "dummy clip", because the clip itself is not playing sound, it's purpose is to trigger my guitar effects on that track.
In this next video, we'll look at several ways Clip Envelope Automation can be useful for live performance...
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In this video we’ll learn what the pad grid layout for the Push is, how its notes are laid out and how to play a major scale and triad chords.
This pad grid layout is otherwise known as the isomorphic keyboard.
Moving vertically, by default, notes are a 4th apart. Moving horizontally each pad is the next note in the scale. If the note is the track’s color, this is the root note.
You can also play a scale by playing the first 3 notes on the first line, the next 3 notes on the line above, and then the next 2 notes on the line above until we reach the next octave. 3 + 3 + 2 = 8
In the last video, I showed you how to browse through and add instruments to midi tracks with the Push2 in Browse Mode.
In this video we’ll learn how to pick any other scale type by pressing the Scale button when in note mode.
Ableton Live will remember the scale you picked on the Push for that specific project after you’ve saved your project
In the last video, I explained the isomorphic keyboard and how to how to play a major scale and triad chords on the pad grid in the default C Major scale.
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In this video, we’ll explore the Push2’s other layouts for the drum rack. These additional layouts are the 64 pad view and the 16 velocities mode. I’ll also show how to change each cell/pad color.
In the last video, I explained the how to play and navigate cells in Live’s Drum Rack on the Push2.
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In this video we’ll record played notes in the drum rack. In the last video, we explored the Push2’s other drum rack layouts; the 64 pad view and the 16 velocities mode.
1st press of the record button will start recording.
2nd press will end recording.
3rd press will enter overdub mode.
Any additional presses will toggle playback and overdub modes.
Additionally I’ll show how to use Accents and demonstrate how velocities are recorded by the pressure applied to pads as well as having velocities stick when recording using 16 velocities mode.
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In the last video, we explored how to record and overdub in the drum rack. In this video we’ll cover some VERY USEFUL recording tips to get the most out of your ideas. These tips include…
Pressing the New button will prepare the next clip slot for recording and duplicate all other playing clips on other tracks to a new scene.
Press Fixed Length to toggle Fixed Length Recording On and Off, Hold down on Fixed Length to specify clip length.
The Undo button, is a faster way to get rid of an overdub layer, or any other action.
Press and hold Quantize to specify a value of quantization, you can even add swing if you want.
Press quantize again to snap notes
When holding down on Quantize, you can enable record Quantize from the menu, where played notes will sound exactly how you played them, but will automatically be recorded as snapped notes
When the repeat button is enabled when both playing or recording, you can play continuous notes when holding down on a pad at an interval specified by the scene/ grid buttons
Add swing in REAL TIME, by turning the swing knob while the repeat button is enabled
In the last video, we explored some VERY USEFUL recording tips in the drum rack to get the most out of your ideas. ALL of those tips/features shown are also available in instruments with the isomorphic keyboard.
These tips include; the New button, Fixed Length Recording, the Undo button, Quantize, Record Quantize, the Repeat button, and the Swing knob.
When the Push2 is in note mode, you can hold down on select while tapping the touch strip to toggle between pitch bend and mod wheel.
In both the drum rack and on the isomorphic keyboard view, selecting tracks using the lower display buttons will let you navigate between existing ideas. The left and right arrow buttons on the Push2 also allow for you to select tracks.
A selected midi track will automatically be armed. You can arm any track from the push by holding the lower display button for that track while pressing the record button on the Push2.
Pressing the upper and down arrow buttons will trigger clips in session view.
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In this video we’ll cover how to modify your sound on a specific track in device mode. Start by pressing the Device button. You can control Ableton devices as well as 3rd party plugins in device mode.
In the last video, we concluded showing VERY USEFUL recording tips for both the drum rack and isomorphic keyboard view, as well as giving you the ability to navigate to different tracks to play with different ideas.
In device mode, you can select different devices in the chain of the current track. The name of the current track will show up below the first upper display button. Press the first upper display button again to enter into Edit mode. THIS WILL LET YOU CONTROL MORE THAN 8 PARAMETERS!
In edit mode, the lower display buttons will bring up additional pages of parameters for that device. You can exit edit mode by pressing the first upper display button again.
To add additional devices or FX to a track, press the Add Device button. You can also add an instrument from the Add Device button, but that will replace the existing instrument on that track.
To delete a device, press the Delete button, and then press the upper display button that corresponds to that device. To disable a device, press the Mute button, then press the upper display button that corresponds to that device. If you hold down on Mute, you can enabled locked muting where you can toggle devices on and of by only selecting their upper display button. To exit this behavior, hold down on Mute again.
To move a device or effect to a different position in the track’s chain, press and hold that device’s upper display button, then use any of the 8 knobs to scroll the device to the new position. Release the old upper display button after you’ve moved your device.
In this video, we’ll learn how to automate parameters. Changes over time to parameter’s knobs can be recorded as a clip.
In the last video, we learned how to add devices to a chain, control more than 8 parameters on a device, delete or mute devices, and rearrange the position of devices in a chain.
To record automation, first press the Push2’s Automate button so that it turns red. Then obviously you’ll need to press the record button and turn a knob to record a new clip or you can even add automation to an existing clip.
Press the Automate button again to stop recording automation. The clip will play back the action of you turning knobs with a white dot next to the parameter.
To delete automation, hold the Delete button and touch the specific knob of the selected parameter. If there wasn’t automation for a parameter, holding delete while touching the parameter will snap it back to its default position
If you turn a parameter during playback to override automation that has been recorded, you will disable that parameter’s automation. The white dot will change gray and the parameter will stay at its last touched value.
To re-enable all overridden automation, press and hold the Shift button, then press the Automate button.
In this video, we’ll learn about the features of clip view, which is useful when editing existing clips. In the last video, we learned how to record automation to new and existing clips, and how to override, re-enable, and delete recorded automation.
You can adjust various clip parameters, such as enabling or disabling loop, setting the loop length and loop position, as well as the start offset of the clip.
Different types of parameters will be available depending on the type of clip selected.
With loop off, you can control the start and end position of a clip. You can hold down on the Shift button while turning knobs for fine tuning control.
Audio clips have additional parameters. You can zoom in and out of a sample with Knob 1. The focus area that you zoom into is dependent on the last touched clip parameter such as the start flag.
You can also set the warp mode as well as other various audio clip parameters from clip mode.
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In this video, we’ll explore step sequencing with drums in a drum rack. To begin step sequencing, tap the sound you want to sequence, then tap the pads on the upper half of the pad grid to place the steps where you want them.
In the last video, we learned about the various features of clip view such as enabling or disabling loop, setting the loop length and loop position, the start offset of the clip, and zooming in and out of audio clips.
By default, each pad step in the sequence is a 16th note, making 1 line into half a bar. But this increment size can be changed with the scene/grid buttons.
The left most knob on the Push2 is the tempo knob.
You don’t have to be recording to step sequence. The current playing step will be red if you are recording notes in a clip outside of the Push2.
Tapping a step that already has a note will delete that step. If you’re unsure about a step, you can press and hold the mute button while tapping a step to mute specifically that note.
If you hold down on a step, you can fine tune its parameters such as nudge, note length, and velocity.
If you like your loop, but want to edit a duplicate for variation, press the Duplicate button. Obviously we can create a new clip by pressing New and delete a clip by pressing the Delete button. But you can also delete all notes for a specific sound or cell in a drum rack by holding Delete while tapping that pad in the lower quadrant. If you press Delete while tapping a pad that has no sequenced notes, you’ll delete any devices on that drum rack cell.
Pad Color Meaning:
-Grey: Step has no notes -Green: Current playing step -Clip Color: Step contains a note (darker shades are higher velocities) -Much Lighter Version of Clip Color: Step has a note, but the step is muted -The Right 2 Pad Columns: will be unlit at triplet intervals.
The bottom right pad grid quadrant is to select sequence pages. Green is the current playing page. Pages are always 1 bar long. Tapping 2 pages at once will create a clip with the combined length of the pages (and the pages in between).
You can also expand your loop by pressing the Double Loop button or by pressing an empty page outside the current looped area.
In the last video, we learned how to step sequence drums with the Push2 in a drum rack. In this video, we’ll learn how to step sequence instruments in the melodic step sequencer.
From the isomorphic keyboard, to toggle in and out of the melodic step sequencer, press the Layout button. Also melodic step sequencing is polyphonic, so you can also sequence harmonies.
The pads from the top row adjust the length of the loop, which is similar to the pages in the drum step sequencer.
When you press the Scale button, the available scales will appear. When In Key is selected from the scale menu, the 7 rows below will be the notes in the selected scale. When Chromatic is selected, notes that are in key are gray while notes of key will be unlit (until a step is created).
The brighter, white row (by default the bottom row) is the root note of the key.
Each column of horizontal pads represents a step. The step interval resolution is set by pressing the scene/grid buttons. The right 2 pad columns will be unlit at triplet intervals, just like in drum step sequencing.
You can shift the range of notes with the Octave Up and Octave Down buttons. The range can also be changed by scrolling up and down with the touch strip. Hold the Shift button while moving the touch strip, to move by octaves. Hold shift while pressing the octave buttons to move by single notes. The Push2 screen will briefly show the available range window as you adjust it.
With the melodic step sequencer, the length of the page is determined by the size of the step intervals. If your interval is set at 16th notes, 1 page would be half a bar because 1 page is 8 steps, and with 8th notes, one page would be 1 bar.
If you single tap a page, you will lock that page to the Push2 for editing, but Ableton will continue to play the rest of the loop. This means the page you see might not necessarily be the page you hear. You can also navigate between pages with the Page Left and Page Right buttons.
To expand back to see all sections of the loop, single press the first and last page at the same time.
Double Tapping on a page will loop only that page. To expand the loop again, press the Double Loop button, or single tap the first and last page at the same time.
In this video, we’ll explore more how to load in our own custom sounds, directly from the Push2 and better control them.
In the last 2 videos, we saw several new features by learning how to step sequence drums in a drum rack and step sequence melodies in the isomorphic keyboard.
In this video, we’ll learn how to alter sounds of specific drum cells and understand how Choke Groups work, as well as how to control individual chains in an instrument rack.
Browse mode can be used to load a sound or even replace and existing sound on specific cells in a drum rack.
If you enter Browse mode without selecting a specific cell, the entire drum rack will flash white to notify you that you are about to replace the entire drum rack.
To replace a specific cell, first enter into Device mode with the Device button.
By default, the whole drum rack is selected.
To select an individual pad, tap that pad, then press the 2nd upper display button (the square icon represents a pad).
Then we can enter Browse mode and sift through sounds to replace a specific cell.
After this process, once in browse mode, tapping other pads will select them/ replace them.
If an item has been loaded with the Load button, the Load Next and Load Previous buttons will appear to quickly sample through sounds (this also works with instruments).
In a live performance, scenario you can SELECT A DRUM RACK CELL WITHOUT TRIGGERING IT by holding the Select button while tapping a pad.
You can press the lower display button for the track the drum rack is on to expand or collapse the rack to see all of the containing sounds. In this way you can add devices or FX to specific cells.
You can also copy a pad to a different cell location.
Hold the Duplicate button, then press the source pad you’d like to copy.
Release the source pad, but keep holding the Duplicate button.
Then press the destination pad. This will replace the existing sound and any FX but keep any existing notes that were recorded.
When a single pad is selected you can also select its choke group. Choke groups are a way to isolate out sounds that shouldn’t be played at the SAME TIME, such as 2 different kicks or an open and closed high hats.
You can also press the lower display button for the track the an instrument rack is on to expand or collapse the rack to see all of the containing sounds. If only the instrument rack itself is selected, its 8 macro knobs are displayed. You can control specific devices’ parameters or add FX to that specific chain by selecting that device’s lower display button.
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In this video, we’ll explore session view mode on the push for better navigation in a live set.
In the last video we loaded in our own custom sounds in racks directly from the push.
Press the Push2’s Session Button to switch to Session Mode. The 8×8 pad grid will launch clips and the Scene/Grid buttons will launch scenes. If the track is selected and armed, pressing an empty pad will start recording a new clip. If the track is not armed, pressing an empty pad will stop playback of any other currently playing clip on that track.
-The color of the pads reflect the clip color in Ableton.-A triggered clip will momentarily flash green, then pulse when playing.-A recording clip will pulse red.
Pressing the up or down arrow buttons will move you 1 scene at a time. Likewise, pressing the left or right arrow buttons will move 1 track at a time.
Pressing the Octave Up and Octave Down arrow buttons will move you 8 scenes at a time. Likewise, pressing the Page Left and Page Right buttons move 8 tracks at a time.
Pressing the Mute or Solo buttons will mute or solo the currently selected track. As shown earlier, holding the mute or solo button for a few moments will Lock it on, which will mute or solo tracks when their lower display button is pressed. Hold on Mute or Solo again to exit this behavior.
Pressing the Stop Clip button will stop the playing clip in the currently selected track. Hold the Stop Clip button and press any track’s lower display button to stop any playing clips in the desired track.
The Stop Clip button also has locking behavior. Hold the button for a few moments to lock it on, the pressing any lower display button will stop that track’s clips. Hold the Stop Clip button again to exit this behavior.
If you hold down on the Shift button while pressing the Stop Clip button, you can Stop All Clips.
You can also hold on the Session or Note buttons to temporarily toggle between Session and Note modes. Holding either button down basically acts as a momentary switch.
Session overview will allow you to quickly navigate large sets with tons of clips.
Press the Layout button while the Push2 is in Session mode. Each pad represents an 8 scene by 8 track block of clips. For example pressing the pad in row 3, column 1 will focus on scenes 17-24, tracks 1-8.
Color of pads in session overview:
-White: The current selected block of clips where the colored boarder is in Ableton -Green: There are clips playing in this block of clips, even if this isn’t the currently selected block -Gray: There are clips located in this block of clips -No Color: There are no clips in this block.
In the last video we explored all of the features of Session View Mode on the Push2 and the Session overview layout. In this video, we’ll explore how to record with the Push2 in Ableton’s Arrangement view.
First we must manually switch to Arrangement view in Ableton outside of the Push2. If you previously recorded something into session view, and then you toggled to arrangement view, the tracks will appear “grayed out” and there will be a gray play button directly to the left of the track info on the right side of the screen. Enable arrangement recording for that track, simply click the gray play button.
To enable all tracks for arrangement recording, click the orange Back to Arrangement button, which is located above the highest track, above the grey play buttons column.
Then press the record button on the Push2. This will ready Ableton Live to record. Recording will not begin until you press play either on the Push2 or on screen in Ableton.
In arrangement view recording, recorded notes will appear green in note mode and in the drum rack, notes that would normally show up in the step sequencing area are not visible.
In the last video we explored how to record with the Push2 in Ableton’s Arrangement view. In this video we’ll change gears to understand how Ableton’s Simpler device works with the Push2 and the different modes of the Simpler.
An empty Simpler can be loaded to a track in Browse mode, instruments, Simpler. Once a Simpler is on a track, it will suggest loading a sample. After loading a sound, we’ll switch back to device view.
The waveform of the sample will be visible on the Push2’s display, along with a number of parameters that will allow you to change how the sample plays bak. These first parameters that show up are the main bank of Simpler’s controls.
By default, Simpler will set certain parameters automatically based on the length of the sample. For example, short samples will play once when triggered while long samples will be warped and loop. If the sample is warped, it will playback at the global tempo of your project file, regardless of which note you play.
Any warp settings and markers of an existing warped clip will be preserved when dragging into a simpler.
The most important feature that determines how clips will be played back is the mode control. Simpler has 3 playback modes; Classic, One-Shot, and Slicing.
Classic is the default mode and is designed for creating melodies and harmonies with pitched samples. The pitch will change based on what note you hit. It has a full ADSR envelope. Attack, Decay, Sustain, Release (which shapes the volume of the sound over time as it plays back). It supports looping, is polyphonic by default, and samples will sustain as long as a pad is pressed.
One-Shot mode is designed for drum hits or short-sampled phrases and is only monophonic. It has simplified volume envelope controls, does not have looping, and by default the entire sample will play back, even when you let go of the pad.
Slicing mode will non-destructively slice the sample across the pad grid. You can adjust how sensitive simpler is to the transient peaks by turning the sensitivity knob. You can also adjust the position of slices, and create and delete slices. This mode is ideal when working with drum breaks or fills.
In the last video we changed gears to understand how Ableton’s Simpler device works with the Push2 and the 3 different modes of the Simpler. In this video, we’ll explore specifically Simpler’s Classic Mode with the Push2.
In Classic Mode, the position controls change which portion of the samples will play back. If a sample has silence at the beginning, you can move the start position forward. S Start and S Length are shown in percentages of the total sample length set by the start and end parameters.
If you hit a pad after setting an S Start value of 50% and and S Length Value of 25%, you would only hear the last 3/4 of the sample.
S Loop will set how much of the sample is looped. This parameter is obviously only available when Loop is enabled.
You can turn the Zoom knob clockwise to zoom into a specific section of audio. The area you zoom in is determined by the last touched sample position control.
Pressing the first upper display button on simpler will enter Edit Mode. In edit mode, additional pages of parameters will become available in the lower display buttons. In edit mode throughout different pages, the other upper display buttons will toggle specific settings on or off. Press the first upper display button again to exit Edit Mode.
The “Warp As” button will set the warping of the sample between the start and end values so that the warped sample has more of a precise playback within your specified area. Ableton makes its best guess on what this value should be based on the sample length, but if it gets it wrong, you can press the divide by 2 or multiply by 2 buttons.
Crop removes the pieces of the sample outside the start and end points. Reverse plays the entire sample backwards.
In the last video we explored in depth Ableton’s Classic Mode Simpler on the Push2. In this video, we’ll explore specifically Simpler’s One-Shot Mode.
In One-Shot Mode, most of the controls function the same as in Classic Mode but with a few exceptions.
When you trigger a sample, it will continue to play to the end of the sample even after you let go of the pad.
You can shape the volume of the sample using the Fade In and Fade Out knobs. With Gate enabled, the sample will begin fading out as soon as you let go of the pad.
You can transpose the sample up or down up to 48 Semitones (4 octaves). The timbre of the sound may change dramatically when pitching up or down the same depending on which warp mode is selected.
Both Classic and One-Shot modes allow you to repitch a sample “on the fly” without changing its playback position by using Legato playback.
Once you enter Edit mode, press the second lower display button.
then set the Glide Mode parameter to Glide.
Set the voices parameter to 1, making it monophonic (this voices step can be skipped in One-Shot Mode as it is already monophonic).
As you play the pads in a legato fashion the samples will transpose pitch. For best results, make sure warp is on. Complex or Complex Pro Modes work better for pitched samples, but experiment with the different warp modes to find the right sound for you.
In the last video we explored in depth Ableton’s One-Shot Simpler Mode on the Push2. In this video, we’ll explore specifically Simpler’s Slicing Mode.
In Slicing Mode, most of the controls function the sample as in Classic and One-Shot Modes, but with a few exceptions...
The Sensitivity knob determines how sensitive Simpler is to transient peaks and thus how many sample pads are available on the Push2. Samples fill the pad grid in groups of 4 starting on the left half, then from the bottom of the right half.
By default, the Slicing Simpler is set to the 64 pad drum rack layout. You can press the Layout button to change to the 16 pad drum rack view.
The playback knob determines how many pads can be triggered simultaneously. When set to Thru, playback is monophonic, but triggering one slice will continue playback through the rest of the sample region.
Nudge allows you to fine tune the timing of each slice marker. This is really useful if automatic slicing wasn’t perfect. For greater nudging accuracy, tap the pad you’d like to adjust, then use the zoom knob to get a better look. Hold down the Shift button while adjusting nudge for an even tighter tweak.
Ableton Live 9.7 and on offer some additional slicing options. The default way slices are split up is by transients. But now there is a “Slice By” parameter which gives you 3 new ways to slice a clip; Beats, Region, or Manual.
Beats slices by grid based sections of time. The division parameter changes the grid resolution. These slices can be nudged or deleted.
Region creates slices that are equal and identical in length.
Manual slices were created via the pad slicing knob before Live 9.7, but now it is a dedicated slicing mode. Pressing an empty pad while playing back the sample will create a slice point at the current playback position
In the last video we concluded the in depth section on the Push2’s Simpler. In this video, we’ll explore the various features of what pressing the Convert button does.
The details on what you convert to depends on what is selected when you press Convert.
While working with a Simpler in either Classic or One-Shot Mode, pressing Convert will create a new midi track containing a drum rack with a copy of the simpler on the first pad. All other devices that were on the original track will also be copied to the new track.
While working with a Simpler in Slicing Mode, pressing Convert will replace the Simpler on the same track with a drum rack that contains all of the slices mapped to individual pads.
While working with a drum rack, pressing the Convert button will create a new midi track containing all of the devices that were on the selected pad.
If the Push2 is in Session Mode, and you press Convert with an audio clip, you can either create a new midi with a simpler loaded with the clip’s sample or a drum rack loaded with the clip’s sample. Warp markers and settings will be preserved in the new Simpler.
In the last video we explored the various features of what pressing the Convert button does. In this video we’ll explore the endless possibilities of Mix Mode on the Push2.
To control volumes, pans, or sends, press the Mix button. Pressing the Mix button will toggle between Track Mix Mode and Global Mix Mode.
In Track Mix Mode, the knobs adjust volume, pan, and send levels for the selected track. The lower display buttons are used to select different tracks. You can hold the Shift button while turning knobs for fine tuning.
In Global Mix Mode, the knobs will adjust volumes, pans, or send levels for the 8 visible tracks. Select which parameter will be controlled with the upper display buttons. Volumes and pans will always remain visible. You can move to other tracks with the left and right arrow buttons.
Press the Master button to select the Master track. Press master again to return to the previously selected track.
On the Push2 display, groups, drum racks, and instrument racks all will have a special icon showing that these tracks can be expanded, allowing you to control parameters in the contents of these groups or racks. To unfold one of these tracks, first press its lower display button to select it, then press it again to unfold it. You can individually control the parameter of the contents by selecting their lower display buttons. Use the left and right arrow buttons to navigate to tracks or chains that may have run off the display after unfolding.
When working with an unfolded drum rack, you can hold down on Select while tapping a pad to jump to that pad in the mixer.
Also as of Ableton Live 9.7 and up, you can setup Track Monitoring and Routing directly from the Push2’s display.
In Track Mix Mode, you can select and change monitoring and routing for individual tracks.
Then press the upper display button, “Inputs & Outputs.” The first knob sets the monitoring of the track.
The second knob selects either input or output monitoring.
The third knob is used to set the source or destination channel.
The other knobs are to chose between the available chains. There is even a meter to display signal activity.
In the last video we explored the endless possibilities of Mix Mode on the Push2. Now we’ll learn how to Step Sequence Automation. Yes, that’s a thing.
But before we get into step sequencing automation, let’s review and cover note specific parameters. In both the drum and melodic step sequencers, hold down on a step to fine tune note specific parameters such as nudge, note length (the ending of the note), and velocity.
While holding down the stepped note, you can select note specific parameters by pressing the first lower display button, Note Settings. You can even select multiple notes simultaneously to edit their note settings (for example, turning up their velocity range).
When working with a drum rack, you can hold down on a pad in a drum cell, then change note settings for all notes that occur on that pad.
To create per-step automation:
Hold down on one or more steps, then press the second lower display button, Automation.
You can then adjust parameters with the knobs.
Once adjusted, that step or group of steps will snap to your adjusted value for the time of that step.
Each step can be a different value, if desired. You can even automate steps that don’t have a note by pressing that empty pad step, then adjusting parameters.
In the last video we learned how to step sequence automation. Now we’ll learn the nuances of the Push2’s User Mode as well as how to use the touch strip as a crossfader for DJing.
The Push2’s user mode allows for the use of custom midi mappings. This is useful for live scenarios when you want specific parameters to always be mapped to the same buttons on the Push2. You can toggle in and out of User Mode, by pressing the User button, but this will switch off regular functionality until User Mode is existed.
In order for User Mode to work, we need to enable the Push2 to be used in Ableton Live’s Midi Preferences Midi Ports.
To send notes and remotely control Ableton Live (aka midi map a parameter), we need both Track and Remote enabled for our Push2’s input. To receive LED feedback that our remote control of Ableton was successful, we need to enable Remote for the Output of our Push2.
The user Port on Windows is called Ableton Push2 (Port 2), but is just called Ableton Push2 (User Port) on Mac OS.
To map a software button or knob to a hardware button or knob, first press the Midi button in the right corner of the screen. This allows for midi mapping for any parameter that is highlighted in blue. Click on the desired parameter in Ableton, then touch the destination button or knob on the Push2.
When mapping knobs with the Push2 in User Mode, use the Relative (lin 2’s Comp.) Scaling.That’s the 2nd option from the bottom. Turning knobs is much smoother in this scaling.
We can also use the Push2’s touch strip as a crossfader.
First let’s make sure Live is ready for a crossfader to be mapped. Obviously we’ll need to click the X (below io button, to the right of fader on master track) to view the crossfader and the decks along the bottom of the tracks.
But then we’ll need to assign a track to deck A and a track to Deck B. Now we can enter midi map mode in Ableton and map the touch strip to the software crossfader.
The only problem is that when you let go of the touch strip, the crossfader will snap back to the center because a pitch bend will always snap to the center.
To avoid this behavior we’ll need to “ride” the user button. Exit user mode back to the normal push functionality. Then re-enter User Mode, but don’t release the user mode button yet. Move the touch strip where you want it, then release the user mode button while still holding the touch strip position.
Once you exit user mode, you can then release your finger from the touch strip. By doing this, the crossfader will “stick” at your desired position.
Here’s another few details to consider when in User Mode.
You can’t midi map the User button
Turning a knob will send a CC value, but tapping a knob will send a midi note, which can be both mapped separately
The 8×8 pad grid which send note values, good for toggling parameters
All other buttons send 0 OR 127 CC values, which can be useful momentary switches
Mapped buttons will light up when the parameter in Ableton is turned on. If you want LED feedback from playing notes in User Mode;
1. We’ll first need to enable the Track Output for the Push2’s user port in our midi preferences. 2. Then create a blank midi track, change its input to the Push2’s user port, set the monitoring to In. 3. Then change that midi track’s output to the Push2’s user port. 4. Pads will light up when you press them and change color based on velocity.
In the last video we learned all the nuances of the Push2’s User Mode and how to use the touch strip as a crossfader for DJing. In this video, we’ll learn how to use Footswitches with the Push2.
The 2 quarter inch jacks on the back of the Push2 don’t send or receive any audio. They are there for momentary foot pedals.
Plugging a simple piano sustain pedal into Jack 1 acts as a normal sustain pedal would to hold out notes.
Jack 2 acts as a hands free record button. Pressing down on the foot switch will toggle the record button, which will switch between recording or overdubbing the current loop. Quickly double tapping will function the same as pressing the New button on the Push2.
In the last video we learned how to use foot switches with the Push2. In this video we’ll learn how to tweak the default setting of the Push2’s Setup Mode. This is the final video of this course.
I saved showing the Setup menu last, because I’ve found that the default settings work the best for my personal workflow.
The Setup menu can adjust brightness, pad sensitivity, velocity response, and more.
When Pad Sensitivity is turned up, it takes less downward force to trigger a higher velocity.
Pad Gain boots or cuts the overall velocity curve.
Pad Dynamics adjusts the spread of the velocities across the output range. When turned up all the way, there will mainly be high or low output without much in the middle, and the inverse is true when turned all the way down.
The default and recommended setting for ALL three parameters is 5.
However, to make a linear velocity curve, set Pad Gain to 4 and Pad Dynamics to 7.
The Workflow option determines how the Push 2 behaves when the Duplicate, New, or Up and Down arrows are pressed.
The 2 options for Workflow is Scene or Clip.
Scene is the default. In Scene workflow, musical ideas are organized and navigated in scenes.
In Clip workflow, you’re working with only the currently selected clip.
In Scene workflow:
Duplicate will create a new scene containing all of the current playing clips AND it seamlessly switches to playing them back.
The New button is similar to duplicate, but doesn’t duplicate the currently selected clip, only the other playing clips. It creates a blank clip slot for the currently selected track, which prepares you to play or record a new idea.
The Up and Down arrows will trigger scenes
In Clip Workflow:
Duplicate only copies the currently selected clip, in a new scene, but continues to play all other clips in the previous scene. (When in Clip Workflow, you can hold the Shift button while pressing the duplicate button to duplicate all playing clips to a new scene.)
The New button prepares an empty clip slot on the currently selected track, but clips in other tracks are not affected
The Up and Down arrow buttons also move up or down by a single scene, but only the selected track will change scenes. All other playing clips will remain playing and are not affected
For topics in lessons 4 & 5, download and use the practice project below.
(heads up, you need Ableton LIve 11 Suite to open this. Download the free trial here
This project folder includes the name of each video topic. Open it as you watch the videos and follow along. (using 2 screens will be awesome if possible)
Get creative and have fun trying your own ideas in the project!
There are many workflows and shortcuts for editing in Arrangement view, which is where you’ll spend most of your time producing. In this video, let's get familiar with editing.
There's a lot of info in this video, open a new Ableton Live set and follow along....(you can adjust video playback speed in the bottom-right corner of screen)
Things to review in this video:
Fade In/ Out on Clips
Reverse feature in a Clip
Echo audio effect
Channel EQ audio effect
Consolide Clips together into 1 Clip
Quantize Settings in a Clip
MIDI Arrangement Overdub Button
Delete Time/ Duplicate Time in Arrangement View
If you haven't already downloaded the Live 11 Keyboard Shortcuts, you can do that here. I recommend printing it out and practicing...or get a tattoo of them. They'll definitely save you time producing!
Automation is one of the most important workflows for editing. It’s a powerful way to become super creative with music production.
Automation is the automatic movement of a parameter over time. Popular ways of using it include creating special hits of reverb or delay during a song transition, or causing an EQ to slowly warm/ brighten an instrument. Or creating cool wiggle sounds with Live's Auto Filter audio effect.
You can automate almost anything to happen inside of Live.
Rather than drawing automation, Live's MIDI Mapping allows you to assign almost any parameter to physical knobs or faders on your MIDI hardware controllers. This is a fun way to get more "hands on" with recording automation and movement while producing.
Things to review in this video:
Creating Automation w/ Draw Tool
Automation Lanes
EQ Eight
Re-Enable Automation button
Automation Arm button
Automating Volume w/ Utility audio effect
While we're on the topic of Automation......
Live includes a ton of great instruments & effects in its Packs in the Browser...However, if you decide to purchase software plugins (outside Live) and run them inside Live (called VST's or Audio Units), you might want to automate the parameters inside that plugin. I'll show you how to do that in this next video...
Below are some plugins by category that I really love. You do not need to buy these, as Ableton has lots of Packs, Instruments, and FX you can use....
ALL INSTRUMENTS (FREE)
- Check out Spitfire Labs for a wide variety of great free plugins
BASS INSTRUMENT
- Serum by Xfer Records
- Trilian by Spectrasonics
- Substance by Output
- Kontakt libraries (you can install different libraries in Kontakt plugin)
SYNTHS
- Arturia V Collection
- Serum
- Pigments by Arturia
- Omnisphere
- Kontakt by Native Instruments
- Arcade by Output
GUITAR AMPS
- Helix Native
- Guitar Rig
REVERB
- Valhalla Vintageverb or Shimmer
ALL OTHER INSTRUMENTS
- Arcade by Output (has tons of audio loops/ instruments to play with)
One of the hardest things in music production is creating transitions from one section of the song to the next.
In this video, I'll share several creative ideas on how to make your tracks easily flow from one section to the next, including:
adding cymbals or sweeps (and reversing them into each other)
automating delays, reverbs, or other effects
drum fills
pitch shifting/ transposing sounds
adding silence; take away instruments and bring them in again later
Things to review in this video:
Clip Envelope Automation - Changing the Pitch/ Transpose
Automate Send Knobs to Return Tracks w/ Reverbs & Delays
Creating Drum Fills
Comping is a feature added to Live 11 that lets you continue to record a section using the Loop Bracket in Arrangement view, without recording over your existing takes.
It's a powerful feature because you can hit record and experiment with ideas for awhile, and then quickly capture your favorite recorded parts. It works for both audio and MIDI tracks.
Pro Tip:
Recording tons of audio can create very large project files. It can potentially make your computer work harder when producing...I recommend deleting any Take Lanes/ audio clips that you hate and don't think you'll use later.
Things to review in this video:
Comping ideas in a Loop and saving your best ideas
Using the Draw Tool inside Take Lanes to scrub your best ideas
Using Legato in MIDI Clips to run MIDI notes into eachother
Shift + Arrow keys up & down to raise/ lower notes 1 octave
In this lesson, I'll show you some tips necessary for creating a single Ableton Live project template to use for all your performances. Once you have a template prepared for your shows, it's an easy drag/ drop process adding audio tracks to create a live setlist.
Once you've setup your individual songs across scenes to perform with, it's easy to save them to later drag/ drop into a new Ableton Live set. This helps you quickly build new custom setlists for every show.
(click video gear icon to adjust playback speed)
Some people choose to perform in Arrangement view, and have all their songs in a set spread out across the entire timeline from left to right. There are several disadvantages and advantages to using either Session or Arrangement view for live performance. We'll discuss these in the video below.
Whether you choose to perform live in either view, it can still be beneficial to organize your entire performance in Arrangement view. This gives you the option to use Consolidate Time to New Scene, allowing you to quickly make edits to tracks and clips before transferring them to Session View to perform.
In this video we'll discuss:
Using Locators to trigger sections of songs in Arrangement View
Tempo automation in Arrangement View
Key Mapping & MIDI Mapping
Use this practice project shared in the video to see an example of setting up a live performance in Arrangement View. (Songs are from my solo music project Philia... (shameless plug)
FOR ADVANCED USE CASES:
One limitation in Session View vs. Arrangement is creating smooth automation changes with Live's tempo from one scene to the next. To get around this, check out additional options to hack Ableton Live like ClyphX Pro, or a Max For Live device such as DJ Tempo
Shortcuts:
CMD + m = MIDI Mapping mode
CMD + k = Key Mapping mode
Hold CMD + Click/ drag automation = unlocks automation dots from snapping to grid
CMD + B = Pencil Tool
A = displays automation lane on a track
You don't need lots of music theory to make great music....there it is. I said it.
Some of my favorite producers use Live and admit they have terrible music theory. However, I still recommend learning music theory (scales, chord changes, etc.) because it will make producing music A LOT easier.
In this video we'll look at a few devices to hack Ableton Live and always easily play in key.
Download the Scale-O-Mat device mentioned in the video here.
If you're new to music theory, check out this long YouTube video by Andrew Juan.
Most songs in a certain genre follow a formula on how they're structured. Once you understand that structure, composing your own tracks becomes much easier 🤟
Use the following charts to analyze how different styles of music are made...pull up your favorite tracks and see how they flow. Then follow the charts below or create your own....
One of the best things you can do to become a better producer is to study how other songs were created. In this video, we'll practice studying another fully produced track and its song structure.
I encourage you to grab one of your favorite songs and follow along with this video to breakdown how it was made.
Live makes it easy to sync the timing of everything in a project to play together. This is one reason many EDM artists choose Live for remixing songs, DJing, and working with loops.
Warping allows you to time-stretch audio, so it stays in sync with your set tempo. Live's ability to play any audio sample in sync with the tempo is a very powerful feature.
When an audio clip has Warp turned on, you can quickly create "Warp markers" and move around the timing of certain hits in that audio clip. We'll look at that in this next video...
Things to Review In This Video:
Creating New Warp Markers in Audio Clips to fix mistakes with timing after recording
When recording live audio, 128 Buffer Size is a good setting (in Preferences--> Audio tab)
Tune Audio Clips with the Transpose knobs (st. or cents)
Live's Sampler Instrument is one of the most versatile instruments ever used in electronic music. I once recorded a goose honking outside my apartment and turned it into a fat synth sound.
The Sampler is really advanced, so we won't go too deep into it for this course. However, we'll look at some basic functions, and how you can take any audio sample and chop it up to create your own unique sound.
Something to consider:
(If you're wanting to take an existing audio loop, and play it back at its original recorded speed, you might want to use the Simpler Instrument. We'll look at that in the next video)
The Freeze function on a track is one of my favorite things for many reasons. When you Freeze a track, that track's output is captured. It basically takes a "snapshot" of what it's hearing.
Freezing tracks can be helpful because...
It saves your CPU from working harder (especially when using 3rd party plugins)
If you share your Live Project to another computer, and you're using 3rd party plugins, the recipient computer can still hear that frozen track if they do not have the same plugins installed
Freezing tracks can be inconvenient because...
You can't edit anything inside clips on the frozen track or devices on the insert of the track (and plugins). You can only change the track's mixer controls (aka volume, send knobs, etc.)
Choosing an Audio Interface - audio in/ out of your computer:
When performing, you may want to input audio into Ableton Live using a microphone, guitar, or another instrument. You'll need an audio interface for sending audio in/ out of your computer. Choosing the right audio interface depends on these 4 things:
1. Speed/ Latency. There are different connection speeds with interfaces today that determine the time between playing your live instrument and the playback of what you're hearing inside Live. The most common audio interfaces you'll find today in terms of speed are (fastest to slowest):
Ethernet (Ideal for sending lots of audio tracks over a long distance)
Thunderbolt
USB 3.0
FireWire
USB 2.0
2. Preamp Quality. The purpose of a preamp is to boost low level signals to the “standard” loudness of your recording gear. Audio interfaces already come with built-in preamps. And usually, they're good enough to get you started.
3. Number of Input/ Output Channels. Think about how much control you want with sending audio in and out of your computer. How much control do you want to give the sound man running the mixing board? Are you confident in the overall mix played together inside Ableton Live, or do you want to give the sound man more control over each audio track?
4. Distance; Length of cables sending audio - Sending audio across long distances will affect which connection types and cables you use.
When I perform with my band Philia, my audio routing looks like the following...(this might be way different and more advanced than what your live setup will look like)
Audio Interface - Universal Audio Apollo x8
Inputs - 1 guitar, 1 bass guitar, 1 drum pad, 1 saxophone, 2 for keyboard (stereo)
Outputs - 1/2 keyboard, 3 saxophone, 4 bass guitar, 5 electric guitar, 6 Click track from Ableton Live, 7/8 Main audio tracks from Ableton Live.
I like having a 8 channel audio interface because it gives me more inputs/ outputs for routing audio. This is especially helpful when I perform live with other band members and want to run their instrument into Ableton Live so I have creative control with looping and effects with my APC40 and DJing.
CLICK HERE to read an article with interface recommendations. I also enjoy Focusrite Clarett Interfaces, or Universal Audio Apollo (if you have the cash). Most interfaces require you to download a driver for it to be recognized by your computer, which you should find on the manufacturer's website.
If you're sending tons of audio a long distance in a very large venue, you might use something like Dante over Ethernet. You'll find this at huge venues or large churches sometimes.
In the next Topic, I'll walk you through how to route individual tracks in Live...
Let's look at how to route individual tracks in Live with an audio interface. Ableton Live's track Monitor gives you additional control for what is heard inside Live for individual tracks.
For my shows, I'll set the track Outputs in Ableton Live to go directly out of the back of my Audio Interface. The person running the mixing board (referred to as "front of house") has control adjusting the volume and mix of the individual tracks playing from Ableton Live. I do this only because I have lots of Outputs on my audio interface...AND when I trust the person running the mixing board to blend everything well together.
You'll need to consider your band's monitoring to hear Ableton Live's audio during a live performance. Oftentimes, touring bands or large venues will use an in-ear monitoring system and Ableton Live's tracks out to this in-ear system to control what they're hearing, especially when playing to a click (with a metronome)
If you're a solo artist, have a minimal band setup, or don't have the budget for an in-ear monitoring system, you can use still use Ableton Live to control your in-ear mix with your audio interface. I'll show you how in this next video using Return Tracks and Send knobs...
Whenever you're performing with a computer, you will have latency.
Latency refers to a short period of delay (measured in milliseconds) between when an audio signal enters and exits from your computer. There are several factors that cause latency...
Computer Power - Having a computer with a fast processor
Audio Interface - Having a faster connection speed (such as Thunderbolt) helps with latency when performing audio
Buffer Size
A low buffer size (such as 128 samples) is ideal when you're performing live instruments routed as INPUTS into Ableton Live
A higher buffer size (such as 512 samples) is easier on your computer, and ideal for performing MIDI instruments or only using Ableton Live for playing back audio.
In this next video, we'll be discussing the delay time that happens when performing audio and MIDI in real-time, and how to adjust Ableton Live's preferences to deal with this.
If you're using in-ear monitors, you may want to create cues for your band to follow along during a live set. In this video, I'll show you how to create and trigger your own cues in a Drum Rack.
You can download cues HERE that I created of common phrases you might need during a performance.
I can't remember producing a finished song without Live's Drum Rack insturment. It's perfect for making beats, and can be used for way more than just drums.
Live gives you a lot of Drum Rack presets in the Browser in the Instruments tab. Here's a few of my favorite drum rack packs you might consider downloading in the Packs tab:
Session Drums - Great for real acoustic drum sounds
Beat Tools- Great for hip hop or trap beats. Includes melodic loops and a large sample libary. (See Beat Tools --> Samples --> Drum Loops --> Hihat Repeats for cool hihat loops)
Drum Essentials- Includes a large sample library with a hybrid of acoustic and electronic drums. (See Drum Essentials --> MIDI Clips for lots of drum rack presets to play with)
In this next video, we'll learn the basics of using Live's Drum Rack Instrument
In this video, we'll continue to look at some of the Drum Rack's advanced features...
Download the Dan Giffin Sample Pack in the COURSE DOWNLOADS lesson which includes more Drum one-shots samples, loops, and more.
The timing and “feel“ of each clip in your set can be changed by using grooves. Live comes with a large selection of grooves, which you can find in the Browser in the Grooves tab.
Depending on the song I'm working with, I may or may not choose to use grooves. But when I do, I usually assign it to most MIDI clips that drive the song's rythm (kicks, snares, percussion, guitar plucks) and sometimes audio clips to make everything "groove" together in time.
Some of my personal favorite grooves include:
Swing SP 1200 8ths 58
Swing MPC Double Up 16ths 60
MPC 16 Swing-61
Other MPC grooves
Let's look at a few quick ways to tune your drums to the key of the song by using the Transpose knob in Simpler instrument, and the plugin Mixed In Key Studio Edition.
If you want to purchase Mixed In Key's Studio Edition plugin, see the Deals page and submit a request to purchase it at an educational discount (30% off)
There are tons of MIDI controllers on the market today used for live performance. The controller you decide to use completely depends on your needs.
Regardless of the controller you use, Ableton is compatible with nearly any controller on the market that sends a MIDI signal in/ out. I made a list below for several MIDI controllers I recommend performing live.
In this video, I'll explain Ableton's MIDI preferences using the APC40 controller...
For this part of the course, download the Ableton Project of the song Crystal Lights by Philia. I'll use this as an example in the following videos lessons. (Requires Live 11 Suite or higher)
(Heads up, this is a large project. You probably need to set your Buffer Size in Live's Preferences to 1024 or higher so your computer doesn't cry)
In this section of the course, we'll start looking at important things to clean up your track and improve the overall mix.
When we refer to "headroom" or "gain staging", this is talking about how the volume of each individual track builds up into the overall mix. Think of it like a glass of water...the water is the volume and frequencies playing together, and the cup is how much room there is for all that sound to live in.
In this video we'll look at several tips for organizing your projects, how to gain stage your tracks in the mix, and applying a Limiter to bring up the overall volume of the tracks and squish them together.
Equalization (EQ) is one of the most important tools for making your tracks sound good. In these next two videos I'll share EQing tips and Ableton's EQ devices to sculpt your songs and sound smooth like butter.
Intro To EQing
DOWNLOAD ABLETON EQ CHEAT SHEET
EQing with Ableton's Devices
Compression can be a tough thing to grasp if you're new to it. Most modern dance music today is heavily compressed, meaning the dynamics of the instruments are leveled so the quietest and loudest peaks are smashed together.
In this video below we'll dive into Ableton's compressor settings, and when/ how to use them for various instruments.
DOWNLOAD THE ABLETON COMPRESSION MIXING CHEAT SHEET HERE.
Sidechaining is a popular technique that "tells" one track to jump out of the way when another track is playing. You can enable sidechaining using several Ableton devices (Compressor, Glue Compressor, Gate, etc).
Why would you need sidechaining? Common uses include....
- Fixing sounds that are "fighting eachother" and sound muddy when playing at the same time
- Creating a "pumping" effect, commonly used in House music.
Let's look at sidechaining using Ableton's Compressor device in the next video.....
"Audio saturation is essentially what makes analog hardware sound musical and pleasing. Distorting sounds through tape, tubes, transistors, and circuits have long been an ingredient in great-sounding mixes. Saturation is a subtle form of distortion that adds pleasant-sounding harmonics".
Ableton Live gives us some great tools to add distortion and grit to sounds, including Saturator, Overdrive, Redux, Drum Bus (Crunch knob), and more.
Let's look at how to use saturation in the next video....
DOWNLOAD THE ABLETON SATURATION MIXING CHEAT SHEET HERE
Gating is a helpful mixing technique that lets you shape when a sound is being heard. Common uses include placing a gate on multiple drum microphones, so one mic doesn't "bleed" noise into the other mic. It can also be helpful to make a longer sustained 808 bass to cut out faster....among other uses.
In this video, we'll look at how to use Ableton's Gate device.
Reverb is everywhere. How you use it in your music and the different types of reverb can be a game changer for creating "space" in your mixes. In this video, we'll dive into the different kinds of reverb and when/ how to use them.
I break down the overall types of reverbs I use by:
- Room Reverb
- Large Hall / Special FX Reverbs
- Plate Reverb
Ableton Live gives us awesome audio effect devices, including:
- Reverb
- Hybrid Reverb
- Convolution Reverb (Need Live 11 Standard or higher, or Max For Live)
DOWNLOAD THE REVERB MIXING CHEAT SHEET HERE
In this next video, we'll look at a few tips and tools in Live for making your tracks sound big and wide, as well as mixing tips for tightening low frequencies (sub bass) using
- Utility
- Chorus-Ensemble
- Delays & Reverbs
- iZotope Ozone Imager plugin (Free Download HERE)
Referencing is when you compare your mix to other tracks on multiple speakers. It's probably the most important thing you can do when it comes to finishing your tracks.
Mastering is the final stage of mixing your tracks before being released into the world. It's basically all the mixing concepts we've covered in this lesson, but way more advanced on steroids.
Just remember, you're only as good as you can hear. So that's why the best Mastering Engineers have awesome acoustic-treated rooms with speakers and headphones to listen.
In this video, I'll show you some referencing tips as you finalize your tracks before the mastering process.
My Personal Preference:
I master tracks for other artists all the time. BUT I don't usually master my own tracks. I like sending my finished songs to a mastering engineer I really trust, he might hear things I might not have noticed and improve the quality of my mix a little further....
DOWNLOAD SWISS ARMY METER HERE (As shown in the video for measuring loudness)
Come back soon....progress will be posted in the member Facebook Group and on Discord.
Come back soon...Progress will be posted in the member Facebook group and on Discord
Auto Filter is something I love for making wiggles, adding distortion and character to sounds, and all types of movement. Learn it's basic layout and see how I use it in the video below...
PRO TIPS:
- Try Automating the Frequency and LFO settings!
- I didn't mention in the video, but click the arrow in the upper left corner to see the SideChain window. You can Sidechain it to other instruments!
Come back soon...Progress will be posted in the member Facebook group and on Discord
Download the Infinite Drum Rack HERE and start producing drums faster
Watch this video on how to install this rack (Start at 1:20)
Watch this video on how to use the infinite drum rack:
Download my sample pack HERE, which includes a bunch of loops and one-shots of audio to help you get creative and start producing.
After installing, I recommend moving the main folder into your User Library on your hard drive, so you can access/ view it inside Ableton Live's Browser.
Here's some awesome samples with one-shots and loops by one of my favorite electronic artists Koan Sound. It includes:
* 3 Dirty Bass Loops (Try using in Simpler or Sampler instruments)
* HiHats, Kicks, Snares
* 12 Rhodes Keys Loops
This MIDI Effect is perfect if you struggle with music theory, or always want to play in key and smash notes on your keyboard. Place this device on any MIDI Track, set the scale you want to play, and never play out of key regardless of the notes you're hitting!
Use this Max For Live device to quickly play chords in key. (Must own Ableton Live Suite, or purchased Max For Live separately)
Use this free Max For Live device made by Beatlab to correct the pitch of your vocals.
If you want a more in-depth solution for pitch correction, I highly recommend RealTime AutoTune Advanced, Melodyne, or iZotope's Nectar.
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Apply the following Saturation concepts in the video below to the Mixing Practice Project you've been working on.
There are many types of saturation to make your tracks sound thicker, and more full. Oftentimes when producer complain about their mixes not being "loud enough" they aren't applying the proper saturation techniques to their tracks (or limiting).
Download the 2 PDF's below to get a better understanding of distortion and how to use it:
Click here to download this cheat sheet and apply it to your projects.
In this lesson we'll look at how to create "space" in your mix using the Crystal Lights Mixing Practice Project.
As you watch the video, here are a few key things to remember:
Stereo vs. Mono
Panning individual tracks to create "space"
Phasing - Correcting phase when recording w/ 2 microphones on the same instance (if phase is cancelled)
Referencing your entire project in Mono (with Live's Utility device)
In the next video, we'll look at a few tips and tools in Live for making your tracks sound big and wide, as well as mixing tips for tightening low frequencies (sub bass) using:
Utility
Chorus-Ensemble
Delays & Reverbs
iZotope Ozone Imager plugin (Free Download HERE)
Click here to download this cheat sheet and apply it to your projects.
Reverb is everywhere. How you use it and the different types of reverbs you use can be a game changer for creating "space" in your mixes. In this video, we'll dive into the different kinds of reverb and when/ how to use them.
In this video, we'll look at the following Reverb types:
Room Reverb
Large Hall / Special Effect Reverbs
Plate Reverb
Ableton Live gives us Reverb audio effects, including:
Reverb
Hybrid Reverb
Convolution Reverb (Need Live 11 Standard or higher, or Max For Live)
Pro Tip:
Whenever referencing, I recommend using headphones to dial-in your reverb (or delay) settings.
Below are 2 guides to get familiar with different ways you can apply delay to your tracks.
Referencing is when you compare your mix to other tracks on multiple speakers. It's probably the most important thing you can do when it comes to finishing your tracks.
Mastering is the final stage of mixing your tracks before being released into the world. It's basically all the mixing concepts we've covered in this lesson, but way more advanced on steroids.
Just remember, you're only as good as you can hear. So that's why the best Mastering Engineers have awesome acoustic-treated rooms with speakers and headphones to listen.
In this video, I'll show you some referencing tips as you finalize your tracks before the mastering process.
DOWNLOAD SWISS ARMY METER HERE (As shown in the video for measuring loudness)
We should by now know the basics of referencing your tracks in Ableton Live. In this video, we'll go deeper with how to get a better overall mix and final master. In this video, we look at workflows using Ableton Live's Spectrum device and other 3rd party tools you might consider.
Mentioned In This Video:
Ableton Live - Spectrum audio effect
iZotope Tonal Balance Control: (I recommend the Music Production Suite Bundle)
iZotope Imager 2 (Free)
Setlist Pro is a max for live device you can use to trigger and control playback in Arrangement View at any point in time with Ableton's Locators. Watch the video below to learn more about how to use this to trigger songs throughout your set.
(Heads up you must own Ableton Live Suite to run this because it uses a program called Max For Live)
(click video gear icon to adjust playback speed)
Here's a useful Max For Live device to use in Session View. Ableton Live doesn't easily allow you to have smooth tempo changes between different Scenes, such as transitioning between songs. This device makes this easier. Place it on a blank MIDI track and use Clip Envelope Automation to program smooth tempo changes between scenes.
(Heads up you must own Ableton Live Suite to run this because it uses a program called Max For Live)
Performance Pack (Ableton Live 12 Suite or higher)
Four incredible Max for Live devices are included in the Performance Pack by Iftah, which is part of the Ableton Live 12 Suite. All of them are intended to make using Live for live performance simpler, more intuitive, and hands-free. In this tutorial, we will examine Performer, Variations, Prearranger, and Arrangement Looper in detail.
You can download it inside Ableton Live’s Packs tab in the Browser.
Watch this video on how to use the Performance Pack:
Yes! When you choose to downgrade, you will see it take effect on the next recurring monthly/ annual payment date. Your recurring payment date remains the same. So you're not losing money.
If you choose to upgrade, you're charged a pro-rated amount at checkout based on the number of days left in the current payment period.
You can book a private lesson on this page.
Join the Pro Membership to receive up to 20% off the first 3 lessons (after the free trial).
Join the membership here to save on lessons.
You can send an Ableton Live project you're working on to receive help before meeting. You also get a video recording of the session with any project edits made.
All lessons meetings occur via Zoom.
There are two membership options depending on your skills and needs....
CONNECT MEMBERSHIP PLAN:
If you have some experience using Ableton Live, but struggle getting the results you want on your projects, or want to deepen your skills in a specific area on a budget, I recommend the Connect Plan. This gives you access to:
LIVESTREAMS - Replay livestreams with Ableton Certified Trainer -Dan Giffin sharing production tips on a variety of topics.
PRIVATE DISCORD COMMUNITY – 24-hour Ableton support for all your questions, weekly track feedback by Dan Giffin (and other producers), VIP access to member community, and more.
DOWNLOADS – Ableton project templates, effects racks, sample packs, instruments, and more to expand your music library.
CLICK HERE TO JOIN CONNECT MEMBERSHIP
PRO MEMBERSHIP PLAN:
This is the most affordable way to grow you Ableton skills.
EVERYTHING IN CONNECT MEMBERSHIP, PLUS...
COURSES – Access hundreds of videos teaching Ableton Live from music production in the studio to performing live on-stage.
DISCOUNTED PRIVATE LESSONS - 40% off your first 3 private lessons with Ableton Certified Trainer -Dan Giffin. Get 1-on-1 help with your projects. ($60/hour with discount)
SAVE ON ABLETON LIVE SOFTWARE – Save up to 40% purchasing Ableton Live. More info here.
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Update your payment method, or cancel your membership. You'll receive an automated email notification confirming this change. If you need help finding the right content to grow your skills producing, performing, etc, you can email Contact@LiveProducersOnline.com and Dan will get back to you to help you reach your goals!
This course assumes you have finished tracks you want to perform live. If not, don't worry. I'll give you tracks to practice with!
Before we jump into the good stuff, there are several important things you should know.....
STEP #1 - HIGH QUALITY AUDIO IS KEY
When performing original music, make sure your songs are produced at professional quality. This is especially important if you perform your original music with music by other professional artists in the same live set.
I recommend only performing songs that are mastered. (Not sure what mastering is? Read this) I always test my mixed tracks on a variety of speakers before performing.
STEM MASTERING:
After a song is finished, and you want it mastered, I recommend sending the individual tracks for that song to a mastering engineer for Stem Mastering.After that engineer masters the individual tracks (drums, bass, guitars, synths, etc) they will send you back those individual tracks to import into your Ableton Live set. Make sure you let the mastering engineer know the specific tracks (stems) you need back for your live performance.
This gives you more control over what you perform live. If you write original music and don't know any mastering engineers, there are freelance websites like SoundBetter.com to help you find a person you like in your genre.
If you use websites like MultiTracks.com (many churches use this) or Kareoke-Version.com to get individual audio tracks (stems) of popular cover songs, these tracks are most likely mastered already, so you don't need to worry about mastering.
MAKE A PLAN OF WHICH INSTRUMENTS ARE BEING PERFORMED LIVE
Create a plan of which instruments you want to perform live with vs. tracks played in Ableton Live. Consider all the situations in which you perform on your own or with a band.
This will help prepare your Ableton Live set. If you're not sure what will be performed live, or have rotating band members, that's fine. I'll show you how to create a versatile Live template that gives you flexibility to quickly turn on/off certain instruments depending on your setup.
See this Google Sheet with examples of how you might consider grouping your tracks into mastered stems. You can reference this later on with your own music.
In the next lesson, I'll show you how to import these mastered stems into Ableton Live!
For the next few topics, download and use these audio stems to practice with.
Sometimes you might be working with a ton of stems.
Playing tons of audio clips in Ableton Live can make your computer cry if it doesn't have the processing power. Keep an eye on the CPU meter in the top right corner Live's screen (see image below). I get nervous when I see it above 30-40% performing on stage.
Before we get started, you'll need to turn off Auto Warp Long Samples in Live's Preferences. You only need to do this once. (See below)
In the video below, I'll show you how to condense all your song's stems before importing them into an Ableton Live template, which we will be performing with later on.
(click video gear icon to adjust playback speed. You can also fullscreen video player)
Now that you have the tracks/ stems ready to perform, let's build a new Ableton Live template you can use.
Before importing the audio, there are several things you should know about the song/ stems you're using...
BPM (beats per minute) - What tempo was your original song recorded at?
Does the beginning of your audio tracks immediately start on the downbeat? (1st beat of the 1st measure)
Are you wanting to keep the song at the original BPM, or speed up/ slow it down?
Ableton Live Warp Modes - Each audio clip might need Warped; this is how Ableton Live adjusts an audio clip to match the master tempo, and can affect the audio quality being played.
Let's take a look at these things in the video below...
Most professional bands use a click track to help everyone stay in-time while performing. Varying tempos in a song can make this tricky when setting up tracks in Live. Most of the time, this should not be an issue....
In this video, we'll look at how to create a click track using MIDI in the original project, then we can later import it into our Ableton Live set we're performing with.
Most of the time, you can simply create a new MIDI track in the project you're performing in, and create a click sound to play along with.
PRO TIP: The default Warp Mode in Ableton Live is "Beats". Beats Mode can work on all audio clips....HOWEVER, when you slow down/ speed up audio from its original recorded tempo, you can have weird sounding "artifacts", and it degrades the audio quality.
If you're stretching the tempo far from the speed the audio it was originally recorded at, Complex Pro is a better warp mode to choose. It has a more noticeable effect on bass and lower frequency instruments.
The only trade-off with Complex Pro is it can work your computer harder if you have tons of audio clips playing at the same time.
Let's get started.
Download the Live 11 Keyboard Shortcuts here as mentioned in the video below...
(use video player controls to adjust playback speed and make video full screen)
I highly recommend hanging out in the Discord server. This is a great place to ask questions, get feedback on your tracks, share new things you're finding, post awesome memes, etc...
(I recommend downloading the desktop app, the mobile app is good too.)
Direct message me @DanTheMan or email Contact@LiveProducersOnline.com with your user name to get private member access to the #VIP-Member channels!
If you don’t own Ableton Live yet, I definitely recommend purchasing Standard or Suite versions! I'm a reseller and can hook you up with a major discount purchasing it direcltly HERE.
You can also download the free trial HERE to use for this course. You won’t be able to save projects or export audio after the trial expires.
How many computers can you install?
According to Ableton, “Purchasing a license allows a user to download the software on two computers owned by the license holder.”
However, you can contact Ableton support from your account on Ableton.com and request additional licenses. (I’ve requested up to 4!) I wouldn’t recommend handing out licenses to friends….it's a bad idea. You also might need those licenses later if your computer crashes, or you get a new one in the future.
Live is pretty easy to install. If you need help installing, check out this article on Ableton’s website with step by step instructions.
The APC40 MKii is one of the most popular MIDI controllers used today.
Although it's most popular in a live performance scenario with DJing, triggering visual effects and video, (check out the software Resolume Arena) this controller can also be used in the studio as a mixer or tool for quick automation and playback.
We'll look at its basic layout first, and then get familiar with workflows for both in the studio and live performance.
Ableton allows for you to authorize 2 of your own computers. If you need to authorize an additional computer, login to your Ableton.com account and contact support directly. (Click the help tab, and scroll near to the bottom to the Contact Support section).
If you're ready to purchase Live software, Live Producers Online is an official reseller, and can offer a cheaper price than most places such as Sweetwater and Ableton's website itself. Click here to purchase a full version of the software at a discount!
Ableton Live has 3 different versions; Intro, Standard and Suite (I recommend Suite). They share common features, but Standard and Suite have additional features, instruments, effects, and Packs. Max For Live is only available in Live Suite.
See the comparison breakdown on their site.
Yes. If both of those computers are yours. According to Ableton’s site,
“A regular Live license is intended for a single user and cannot be shared.
Each license covers the use of the software on two active computers owned by the registered user.
A new authorization may become necessary in the event of replacing essential hardware components (motherboard, hard drive, graphic card, etc.) or after an operating system reinstallation. In such cases, you will be informed by an automated email to your registered address and additional authorizations can be requested from your user account.”
If you want to know how to Sync 2 computers running Ableton, see Play Together with Ableton Link Video here.
To authorize Ableton Live, go to Preferences, Licenses Maintenance, then click “authorize at ableton.com.” You will then be redirected to Ableton’s site and asked to login to your account if you aren’t already. Once logged in, select the license to authorize. Click on “Authorize” and the ableton.com server will send authorization information to your computer.
Authorizing Live online
“Authorizing online is the easiest way to authorize, as Live connects directly to the Ableton server and authorizes automatically. To authorize online, you will need internet access for the computer on which you have installed Live and an internet browser.”
Authorizing Live offline
“If the computer on which you’ve installed Live is not connected to the internet, follow these instructions to authorize:
When starting Live, you will see an authorization dialog. Please click on “No Internet on this computer”:
Live will display another dialog window in which the Hardware-Code of your computer is shown, as well as further information regarding the Offline Authorization process
You can save this information as a text file to make it easier to refer to in the following steps (just click on “Save…” on the bottom right corner).
Take your hardware code (or the saved text file) as well as a portable storage device such as a USB key to a computer with an internet connection.
On the internet-connected computer, log into your Ableton user account.
Enter your hardware code from Live and click “Download File.” The Ableton server will generate an authorization (.auz) file for the computer you want to authorize Live on.
Save the authorization file to your portable storage device and bring it back to the computer Live is installed on.
Open Live 10 and drag the .auz file onto the authorization dialog”
According to Ableton’s site,
“A regular Live license is intended for a single user and cannot be shared.
Each license covers the use of the software on two active computers owned by the registered user.
A new authorization may become necessary in the event of replacing essential hardware components (motherboard, hard drive, graphic card, etc.) or after an operating system reinstallation. In such cases, you will be informed by an automated email to your registered address and additional authorizations can be requested from your user account.”
Yes.
1) To process a license transfer, the current license owner can login to their account and click ‘Transfer ownership of your license to another person‘:
2) Fill out the recipient’s email address, choose the license you wish to transfer and click ‘Submit’:
3) An email requesting confirmation will then be sent to your email address (check your spam folder or ‘All Mail’ in Gmail):
4) Click ‘Confirm license transfer’ in the email:
5) You will then be redirected to Ableton.com to confirm the transfer:
6) A final email will then be sent to both parties to confirm once the license has been transferred.
“Please note that only an entire Live license can be transferred: all Live versions and corresponding serial numbers contained in the license will also be acquired by the buyer. This applies to Suite and upgrades; you can only transfer the whole thing.”
Yes, it is convenient to DJ from CDJ’s using RecordBox, or DJ with Traktor or Serato, but Ableton Live offers way more versatility in the Live realm in a way that no other program can.
You can take your live performance to a whole new level. Instead of just playing your Deck A and transitioning back to your Deck B all night…Ableton Live can do that and more. What if you wanted to play instruments along with your backing tracks, and have a platform that can support third party plugins on your backing tracks as well as your live inputs? Ableton can do it all.
Everyone is a DJ nowadays, Ableton will help you stand out for the right reasons.
Ableton Live 10 and Live 11 Suite automatically have Max for Live included during the original installation of the Ableton software, so no additional download or installation of Max for Live is necessary.
If using Standard or Intro versions, you can login to your account on Ableton.com and purchase and then download it from there.
Ableton Live can use as much RAM as your computer has to supply or Ableton Live needs. Having a computer with at least 8GB of ram is recommended, especially if you intend on using third party VST plugin-ins like Serum, Kontakt, etc.
According to an article on Ableton’s site:
“Due to persistent out-of-memory crashes during use, Ableton will discontinue the 32-bit version of Live for new updates of the software from late 2017. The 32-bit version of Live (like all 32-bit applications) can use a maximum of 4GB of RAM only, which can quickly be exceeded when using large multisamples or memory-hungry plug-ins, resulting in crashes.”
If you only have 4GB of ram, I suggest upgrading!
Ableton takes 6GB of hard drive space to install. And at least 80GB if you have Live Suite and download all the Pack Content.
I highly recommend getting at least 250GB or more space for producing music.
A multicore processor (preferably an Intel i7) with 8 GB RAM is recommended at the absolute minimum! It also depends what you're wanting to use Ableton Live for, as some workloads with more VST plugins will tax your computer harder, as well as playing back/ recording tons of audio at the same time.
MacOS X 10.7 or later (with Live 10, MacOS 10.11.6 & up) , or PC Windows 7, 8, or 10;
You’ll want to have USB ports on your computer, or consider buying a computer dock. (Make sure it has great reviews and is compatible to your computer type). You can find many adapters for Thunderbolt 3 to USB, and most computers are continuing to adopt Thunderbolt 3 (or commonly referred to USB-C) ports now.
To troubleshoot issues with Live, you can reset to default settings in case the problem has been caused by corrupted setting files. Resetting Live won’t delete any important files, such as project files and presets.
Note: Resetting Live performs the following actions:
Your template set project file will be erased if you have one Live’s preferences will be deleted; audio and MIDI hardware needs to be setup again, plug-in support needs to be re-enabled and will rescan, custom preferences need to be set again.
If you don’t want permanently delete Template.als and Preferences.cfg, you can copy those files to another location on your computer. If the reset has not solved the issue, then you can place them back into their former locations.
In order to perform a full reset of Live, please take the following steps:
1. Close Live 2. Delete the files “Preferences.cfg”, and if available “Template.als” and “Undo.cfg” in the following folder, where Live x.x.x corresponds to the version number of Live installed on your computer.
Windows: Users\[username]\AppData\Roaming\Ableton\Live x.x.x\Preferences\
Mac: Users/[username]/Library/Preferences/Ableton/Live x.x.x/
Note: These folders are hidden by default, here’s how to access hidden folders on Windows and Mac.
3. If you have previous versions of Live installed you should also delete the same files in their respective folders.
4. Restart Live.
Welcome to this course! By the end of this course you should have a solid understanding of how to start DJing in Ableton Live (and with live instruments).
If you have questions or need help, feel free to post in the Discord server. As an active member, you get special access to the #VIP channels with ongoing support.
(I recommend downloading the desktop app, the mobile app is good too.)
After finishing this course, consider watching the DJING IN ABLETON LIVE course with more workflows and tips for performing!
Live has a lot of functions we’ll continue to uncover throughout this course.
By the end of this course, you’ll be able to navigate all the main functions and establish your own workflow producing music. For now, let's look at the basic layout of Live's interface.
(click video gear icon to adjust playback speed)
Ableton Live’s browser is where we can play with instruments, effects, external software (called third partyplugins or VST's) and organize our own custom folders.
The User Library and Collections in the browser are where we can store our favorite instruments, plugins, and samples to quickly use later. Having a well organized browser is KEY to producing faster…
At some point, you’ll want to export your music to share with your friends, your mom, or upload for distribution (Spotify, iTunes, etc). There are several options for exporting audio that we’ll cover in this next video.
You'll always be exporting audio from Arrangement view (although it is possible to export from Session View)
I encourage you to take your music wherever you go as you’re producing it. I export my half finished projects and upload to Dropbox, and then listen to it on my phone while at the gym or driving in my car. This helps me get inspired with new ideas, and I hear things I didn’t notice before on different speakers. Then I’ll go back and make changes in the project.
Fun fact, if you wanted to, you can also easily drag/ drop audio or MIDI clips straight from your Ableton project to your computer desktop, and save MIDI files, or drag an entire track in a project into your User Library to save for later.
Let’s take a look at how to export audio from Ableton Live…
If you want to record audio into Ableton Live, such as with a microphone or your guitar, you need an audio interface. There's a ton of different options and brands out there that make interfaces depending on your needs.
Choosing the right audio interface depends on 3 main things:
1. Speed/ Latency. There are different connection speeds with interfaces today that determine the time between playing your live instrument and the playback of what you’re hearing inside Live.
The most common audio interfaces in studios you’ll find today in terms of speed are below (In order from fastest to slowest connections into your computer):
Ethernet
Thunderbolt 3 (also called USB-C)
USB 3.0
FireWire
USB 2.0
I recommend purchasing a USB-C or USB 3.0 interface. It'll definitely help with latency (the delay from the time you play audio to the time you hear it back)
2. Preamp Quality. The purpose of a preamp is to boost low level signals to the “standard” loudness of your recording gear. Audio interfaces already come with built-in preamps. And usually, they’re good enough to get you started. Oftentimes more expensive interfaces come with better preamps.
3. Number of Input/ Output Channels. How many instruments/ tracks do you need to record at the same time? This will determine how many inputs you need. For example, I like to record live acoustic drums with 6 microphones, so i need at least 6 inputs.
Here's a few companies that make audio interfaces I love and recommend based on your budget....
Focusrite (See their Scarlett series)
Universal Audio (See their Apollo series)
Audient (See their iD series)
MOTU (See their M or Ultra series)
If you're looking for a deal, I often shop on Reverb.com
In this first video, we'll dive into the basics of setting up a blank Ableton Live project for DJing.
DOWNLOAD ABLETON DJ TEMPLATE HERE
(click video gear icon to adjust playback speed)
When DJing a song, the audio file quality you choose is super important. I highly recommend using WAV audio files, as they are the standard.
When performing with songs that you haven't produced yourself, it can sometimes be difficult finding high quality WAV's. In this next video, I'll share some insights where you can find quality tracks to use when preparing your DJ set.
Worst case scenario, I've used iTunes to download tracks that were unavailable anywhere else, the quality is OK...but not my first choice.
Although there's tons of software available today for DJing, there are two programs I highly recommend purchasing to use with Ableton Live - Platinum Notes and MixedInKey.
You don't have to use them, but I find using them makes for a quicker workflow and helps me build better DJ sets. Especially with Mixed In Key.
As a member, you can save 30% on all MixedInKey software. Navigate to the DEALS page to learn more.
MixedInKey
- Helps you quickly find the key, tempo, energy, and cue points for songs.
- Build a quick set list and know how songs will transition together.
Platinum Notes
- Makes sure all the songs in your set are at a well-balanced volume
In this video, we'll look at how to use these programs to setup songs for your DJ sets
(click video gear icon to adjust playback speed)
Now that you have the songs you’re wanting to perform, we’ll look at the different ways to set them up to DJ. Those that choose to DJ with Live have the ultimate creative flexibility with how they perform each track.
When I setup my songs for live performance, I think of myself “remixing” the tracks by adding layers, effects, and new sounds to re-create the song. It’s way more fun to create the song as it’s happening, making it your own, rather than simply hitting “play” and transitioning existing songs together. Anyone can hit play and match songs together, which is why there are billions of DJ’s today.
Let’s review several workflows to help you organize your tracks and begin creating an awesome set in Live...
One major advantage in using Ableton is it always wants everything to sync perfectly in time together. In order to do that, we need to tell Live the original BPM (beats per minute) of the audio we put into it, if it’s not already embedded into the file. (most samples you buy have this, which makes it easy)
Let’s look at how to import songs into Live in this next video using the warp feature to sync the song to Live’s tempo.
(click video gear icon to adjust playback speed)
Traditionally DJ’s will set cue-points throughout a song to playback a specific section of that song at any given time. With Live, we can “set cue points” by breaking a song into multiple clips in Session View using the clip’s loop bracket.
After we’ve broken the song into multiple clips or “cues”, we can arrange them into scenes in Session view.
In this next video, I’ll show you how I setup my songs using multiple clips organized into multiple scenes to perform.
(click video gear icon to adjust playback speed)
Transitioning between songs is what sets apart the average DJ from a good one. You want to think about many different things as you arrange your songs in a set list, such as…
the key of the song
energy level
tempo
how you plan to transition from song to song
The Camelot Wheel is a great reference for knowing how the key of you songs will transition together. MixedInKey can analyze multiple tracks and is a great reference for quickly comparing your songs. We’ll look at this much deeper in the next topic.
In this next video, we’ll look at how we can setup songs in your project to transition well together across multiple scenes…
(click video gear icon to adjust playback speed)
A good DJ goes much deeper than randomly picking a song that will fit in a setlist. There can be a true science behind developing an amazing set. This is where harmonic mixing can be crucial.
As you can see in the chart below, some keys in the Camelot Wheel have a great level of compatibility, and you can intentionally create emotions for your audience…for instance, a strong “energy boost” may get more people to dance, while a slight drop can create a deep effect and “a more settle vibe”, a mood change can brighten or darken the atmosphere, and keep things interesting to grab the listener’s attention.
Notice that while the keys boosting the energy are efficient, the corresponding ones dropping the energy remind very subtle: there is not much difference between the Energy Drop -, - - and - – -
Globally, pay attention to the keys which are not in the “Perfect match” column, as their compatibility is not always guaranteed (especially the keys in brackets: very risky! —> mix segments without melodies and/or mix fast with these!). Pay attention to the natural energy of a track: you can’t mix tracks with various energies and expect the combos of keys to work well…
Note: the famous DJ -David Guetta remarked that if you add or subtract 4 keys, you get sometimes an interesting combo. In use, I noticed that it does work sometimes on occasion, but i don’t always trust it to work.
Every DJ or artist has their own workflow. Up until now, everything we’ve done has been focused performing in Session View. However, Live gives us the ultimate creative flexibility by allowing us to work in both Session and Arrangement views.
In this video, we’ll look at working in Arrangement view to edit songs and compose new material in our DJ performance.
(click video gear icon to adjust playback speed)
Live gives us endless possibilities for adding effects to our songs. Whether we decide to use Live’s presets in the Audio or MIDI Effects folder in the Browser, or we create our own custom effects, this is essential for creating movement, transitions, and interesting textures throughout each song.
In this video, we’ll look at some Audio Effects Rack presets and how to use and edit macro controls to enhance your tracks.
At some point, you’ll want to consider buying a MIDI controller to DJ with Live. Any MIDI controller can be used in Live, but there are a few that are ideal for DJing. In this Lesson, we’ll look at how to setup controllers in Live and use MIDI Mapping to launch clips, play effects, and more.
One of today’s most popular MIDI controllers for live performance with Live is the APC40. I highly recommend getting it, they are the best for live performance! We’ll also look at the Looptimus Foot Controller for those that want to trigger clips, effects, and sounds with their feet. (Ideal for playing instruments; not having your hands free).
In this video we’ll look at how to use MIDI Map Mode, and manually change scenes in Live’s Session View.
Although you can use any MIDI controller to DJ with Live, not every MIDI controller will be designed for it. I’ll show you in this next video how to map different scenes to a controller. (The APC40 and Ableton Push controllers are already designed for this.)
The Looper is a brilliant Audio Effect for looping instruments. You can place it on either an audio or MIDI track and manipulate the playback of sound on that track. This can be ideal for those playing instruments while DJing.
In this next video, we’ll look at the basic functions for using Live’s Looper effect…
Check out this video of the artist FKJ for a perfect example of a DJ using Looper in action in addition to the APC40 controller.
You can MIDI map any MIDI controller inside Live. In this video I’ll show you how I perform with Looptimus using the Looper and mapping certain effects.
I’ve tried many different foot controllers for DJing in Live. The most simple and reliable MIDI foot controller I’ve found is the Looptimus. The Looptimus controller is an ideal controller for those having their hands occupied. We’ll look at its basic features in this video.
Live makes it easy to automatically play clips and effects, requiring less movements by you when DJing in the moment. I’m a big believer in keeping things simple, especially when it comes to performing live to protect yourself from any major accidents.
In this lesson, we’ll looking at a variety of ways we can automate our live set.
Automation is one of Live’s most valuable features, and doesn’t get used enough by new producers. I usually do a fair amount of automation in my Live DJ sets. With the release of Ableton Live 9, you can now do automation within clips themselves, which make for an amazing transition between songs and creating interesting movements with effects.
In this video, we'll look at the following...
Renaming Scenes - You can rename scenes to automatically change the project tempo and time signature for clips in a scene.
Creating Transitions with a clip's loop bracket - Instead of ending each song with dead silence, using the Loop bracket on individual clips in a scene can help with transitioning to the next song on the following scene. It's great for separating a song into several sections, so you can skip around in a song while performing live across multiple scenes.
(click video gear icon to adjust playback speed)
Creating transitions between songs is definitely important during a live set. In this video, we'll look at the following:
How to break up multiple scenes to improvise performing different sections of a song
Automatically having clips play in a certain order using Follow Actions
Using Key Mapping to trigger scenes, clips, and other Live parameters throughout your set
(click video gear icon to adjust playback speed)
If you’ve previously recorded something in a track in Session View, then toggled to Arrangement View, the track will be greyed out. This is because it is still playing that same clip in Session View while you’re looking at Arrangement View.
You can enable all tracks to only play in Arrangement view by pressing the orange "Back To Arrangement View" button in the top-right corner of the screen.
Session View is the default view when opening Ableton Live. It serves as both an “idea board” for musical clips or phrases as well as a way to trigger those same musical clips for live performance. The workflow here is usually top to bottom.
The TAB key on the computer keyboard toggles to Arrangement View. Arrangement view is the timeline view that all DAW’s have. The musical ideas from session view can be copied or recorded into Arrangement View to linearly write a song from left to right. You can record new ideas into Arrangement View as well.
Ableton Live has many quality stock instruments that come with the program and also supports third party plugin instruments.
To load stock instruments:
Simply click on the Instruments tab in the Live Browser (the left vertical panel of categories). Once the Instruments category is selected, you will see all of the available types of instruments. Click on the arrow to the left of an instrument type, for instance “Analog.” Inside “Analog” you will see different presets organized by sound such as “Bass” or “Piano and Keys” Click any .adv preset to load that instrument into a new track.
To load third party plugins:
(assuming you’ve already installed them on your computer), the next thing you need to do is make sure you’ve pointed Live to the folder where you installed your plugins. YOU ONLY HAVE TO DO THIS ONCE.
On Windows, for example you might install your plugins to C:\Program Files\VSTPlugins, but it completely depends on where the specified the location is when you installed the third party plugins. Then go to Options, Preferences, File Folder. Turn On “Use VST Plug-In Custom Folder,” then click the “Browse” button underneath and point to the folder where your plugins are stored.
On a Mac, the process is similar. Go to Live, Preferences --> File Folder. On Mac OS, Ableton Live understands 2 different formats of third party plugins; Audio Units (AUs) and VSTs. These formats are very similar and you won’t notice much difference between them. Most plugin developers will have installers that offer both formats. However, Audio Units do not exist on Windows. If you are a Mac user and want to collaborate with Windows users, use VSTs so that your projects are compatible. On a Mac, third party plugins will be installed in a premade system folder “Library\Audio\Plug-Ins.” Audio Units are stored under the subfolder, “Components.” You can turn on both Audio Units and VSTs from the File Folder Preferences. In Live on a Mac, you can also specify a Custom Folder for VSTs in addition to the system folder.
Once your plugins are enabled and pointed, on both Mac and PC you can easily access and load them from the Plug-Ins tab in Live’s Browser. You can click and drag them to a desired track. Remember, there are midi only Plugins that are virtual synthesizers (these go only on midi tracks), and there are audio effect plugins that can either go on an audio track or on a midi track after the synthesizer instrument.
Ableton Live has 3 different options to monitor a track; Auto, In, and Off. “Auto” will allow you to hear the audio input (post fx) of a track only if the track is record armed. “In” will always allow you to hear the audio input (post fx) of a track regardless of whether the track is record armed or not. “Off” will mute the audio input from that track. Also note that when monitoring is set to “In”, you will not be able to hear the playback of a recorded clip until you switch monitoring back to Auto.
This monitoring behavior is also the same for midi track input for played notes.
Pro Tip:
Monitoring tracks as IN or AUTO will increase your computer workload. Oftentimes it's recommended when recording audio realtime to monitor tracks through your audio interface, and set Ableton's track monitoring to OFF. Then when finished recording set monitoring to AUTO so you can hear the audio playback that you recorded with effects you load on that track.
Ableton Live Suite versions include a free download of Max for Live. You must have Live Suite in order to use Max for Live.
In Live 9 Suite, you can login to your account on Ableton.com and download Max for Live, or purchase it if you have a lesser version than Suite (such as Standard or Intro).
Ableton Live 10 and Live 11 Suite automatically has Max for Live included during the original installation of the Ableton software, so no additional download or installation of Max for Live is necessary.
To record midi in Ableton Live, you must first have a midi track armed. To arm a midi track, in session view click the arm button, which is located below the track’s solo button. To arm a midi track in arrangement view, click the arm button which is located to the right of the track’s solo button. You’ll also need to make sure that track input for the midi device is your playing on is enabled in Live’s midi preferences. (Live --> Preferences or on PC, Options, choose Preferences, then click track on the midi input for the desired midi device). You can also play notes from your computer keyboard by clicking the piano keyboard icon which is in the upper right corner of the screen. The shortuct to enable your computer MIDI keyboard is M.
Once the track is armed and your midi device input is enabled, you should be ready to record played notes. In session view click any of the circle record buttons on the available clip slots on the track, then play notes. Click the square stop clip button on that track to stop recording. In arrangement view, click the global record button at the top center of the screen (providing that the desired track is armed. Click the global square stop button at the top center of the screen to stop recording.
To record the midi output of one track to the midi input of a new midi track, simply set the midi input of the new track to the name of the existing midi track, then arm the new midi track. Again, if you’re in session keyboard by clicking the piano keyboard button which is in the upper right corner of the screen, to the right of the Key button.
Once the track is armed and your midi device input is enabled, you should be ready to record played notes. In session view click any of the circle record buttons on the available clip slots on the track after the existing track is playing. In arrangement view, click the global record button at the top center of the screen.
Warping is the terminology used when referring to stretching audio in Ableton Live.
Warping is the way Live will stretch audio to a specific grid. The best analogy is this…You have a ruler, a rubber band, and some thumb tacks. The ruler is a timed based grid of evenly spaced intervals. The rubberband is the audio clip. It can be stretched or shrunk down to a specific space between intervals. The thumb tacks are Warp Markers. These serve as a way to snap or pin the audio to those specific intervals.
Ableton Live will work with ANY midi controller, however there are 10 really good ones that I love to use....
These are controllers that are automatically mapped to certain parameters inside of Ableton Live.
Ableton Push 2 Novation Launchpad Pro Akai APC40 MKII Akai Professional Advance 49 Arturia Keylab 49 Akai MPK Mini MKII 25 Native Instruments Machine MK3 DJTechTools Midi Fighter 3D DJTechTools Midi Fighter Twister Novation LaunchControl XL
Yes, it is convenient to DJ from CDJ’s using RecordBox, or DJ with Traktor or Serato, but Ableton Live offers way more versatility in the Live realm in a way that no other program can.
You can take your live performance to a whole new level. Instead of just playing your Deck A and transitioning back to your Deck B all night…Ableton Live can do that and more. What if you wanted to play instruments along with your backing tracks, and have a platform that can support third party plugins on your backing tracks as well as your live inputs? Ableton can do it all.
Everyone is a DJ nowadays, Ableton will help you stand out for the right reasons.
To Freeze or Unfreeze a track, simply right-click on the track and select that option. Freezing a track will analyze that tracks output and take a "snapshot" of what it's hearing.
Freezing a track is beneficial for many reasons including:
Saving your computer's workload when running VST's or tracks with tons of effects.
Sharing projects from one computer to another if the person you collaborate with doesn't share the same 3rd party plugins/ VST's.
After Freezing, right-click the track and choose Flatten, this converts everything the track output is hearing into a new long audio clip on that track. Oftentimes it's better to set the Warp Mode of that new audio clip to "Complex".
If you’re sending an Ableton Live project from one computer to another, here’s a few quick tips on how to do it without having missing files or audio issues.
As mentioned in the video, be sure to….
Freeze all tracks using 3rd party (non-Ableton) plugins (Learn how)
Collect all and save; Zip the main project folder and send a URL link (Google Drive or Dropbox) (Learn how)
Also using collaborative software such as Splice Studio is another alternative way to share projects between computers than using something like Dropbox or Google Drive.
https://splice.com/features/studio
A Drum Rack is one of Live’s most versatile and popular instruments. The Drum Rack is made up of 128 “slots” that can playback audio samples, plugins and effects in a variety of ways. Drum racks allow you to build a huge library of sounds in a single instrument on a track. Some artists have built entire songs using nothing but Drum Racks!
Common uses include layering multiple drum sounds, manipulating audio loops, chopping up vocals, and much more.
You can create multiple chains in any of the drum rack’s 128 slots, and go really deep inside what you create with a drum rack. This allows users to take full creative control of playback individual musical ideas, while manipulating how they are performed, whether being a one-shot or audio loop.
A scene is a horizontal row of clips in Session View (both midi or audio) that contain sounds. All clips within this horizontal row can be played at once by pressing the corresponding play button of that row on the Master track. This was origninally designed for live performance playback in Ableton Live.
Ableton Live allows you to bus audio out from multiple tracks (say vocals, drums, lead synth, and pads) to a single track that has FX on it like Reverb or Delay (aka the Return Track). This Return track is only for FX.
You can independently dial in how much volume from each track will be sent to this FX track. Hence the term send and return. You would think that there are 2 stages, but there is really only 1 FX track in this scenario. The FX track then routes its audio to the master (by default, but you can change the routing to a track separate from the master using Sends on the Return Tracks themselves, or the Return Track's Input/ Output routing)
Note, Return Tracks act in parallel, meaning that even when a track’s set to send 100% to the return track, the original audio is still going to the master, meaning 100% wet is really 50% wet, 50% dry. When using effects on a Return Track, it's recommended to set that new effect's Dry/ Wet to 100%.
There are also Pre/Post buttons for Sends. These buttons are located on the master track, above the master fader in session view. Post is the default. When set to Pre, the input of the return track will ignore where the fader is set on the source track that is being sent to the return track. This means that if the source track’s fader is pulled all the way down, but it still is set to send some amount of its audio to the return track, you will still hear the return track fx. When set to Post, if the source track’s fader is pulled all the way down, you won’t hear anything on the Return track fx.
Warp Markers are the yellow notches above audio clips when warping is enabled. You can create new warp markers by clicking anywhere above the waveform. These serve as a way to align certain points of audio to specific time based intervals.
Live will also show tiny grey arrows at the top called Transient Markers. This is where transients are identified (aka when a new significant point of audio starts). This is Live’s suggestion on warp marker placement based on transient peaks.
When you freeze a track, the track will appear greyed out. To freeze a track simply right click on the track and click freeze. Live will make reference audio files in your project’s folder both for session and arrangement view midi and audio clips. Because the track is frozen and is now playing audio files rather than generating a sound real time, your CPU usage is reduced. You can then commit a track by flattening, which just pulls those reference audio files back into your project, replacing any devices that were in the frozen track.
Consolidate will combine 2 or more clips of either audio or midi. To consolidate a clip, highlight 2 or more clips, right click, then click Consolidate Consolidate is NOT a way to reduce CPU. It is designed to simplify and clean up your project file. When you consolidate 2 or more audio clips, a new audio clip will be created that replaces the old. Likewise a new midi clip is created to combine 2 or more midi clips. Consolidate is ALWAYS PreFX. Meaning the devices on a track will still remain after consolidating.
The easiest analogy of Max For Live is it being "digital duct tape".
Max for Live is a visual programming environment that allows users to build custom instruments and effects for use within Ableton Live.
Oftentimes, advanced users will create brilliant solutions to common problems such as, BeatSeeker, which allows Ableton’s global tempo to be synced to the average rhythmic audio timing.
Max for Live now comes pre-installed when purchasing Ableton Live Suite.
The growing community centred around sites such as MaxForLive.com and IsotonikStudios.com are helpful and create a wealth of devices available in addition to the ones included within the Ableton Live Packs. Oftentimes, a device or effect will nearly do what you want but not quite…That’s where Max For Live can save the day.
Max for Live is only available in Ableton Live Suite, or purchase and istall it separately in Standard or Intro versions.
To add a Max For Live device to an Ableton project simply take the downloaded .amxd file from Finder or Windows File Explorer and drag it onto the desired track in Ableton Live. You can also additionally save this in your User Libary in a new folder you organize with your favorite effects/ instruments.
Consider This:
If you have a folder of Max For Live Devices (such as Users/Username/Desktop/MaxDevices), it might make sense to add that folder to Live’s browser by clicking “Add Folder…” at the bottom of Live’s Browser. That way you can add Max For Live devices to tracks directly from Ableton Live.
The session record button IS NOT the record button next to the stop and the play button.
The session record button is near the top center of the screen, next to the “new” button. This button is only available in Session View. When pressed, the session record button will record a new clip in all armed tracks (midi and audio) if an empty scene/row is selected. For midi clips, if you press the session record button and are playing an existing clip, you will OVERDUB new notes to add to existing ones.
Warping is the way Live will stretch audio to a specific grid.
The best analogy is this…You have a ruler, a rubber band, and some thumb tacks. The ruler is a timed based grid of evenly spaced intervals. The rubberband is the audio clip. It can be stretched or shrunk down to a specific space between intervals. The thumb tacks are Warp Markers. These serve as a way to snap or pin the audio to those specific intervals.
After opening an .als project which has missing files, Ableton Live will notify you that is has missing files with an Orange banner located in the bottom left corner of the screen that reads, “Media files are missing. Click here to learn more.”
If you click the word “here” on that banner, Live will take you to the Missing Media Files option that is a panel that will appear on the right side of the screen. In the Search Folder section, you can choose the folder where you keep your samples or the folder where you believe your missing files might be located, then select Go in the Automatic Search section.
If you specified the correct folder, in a few moments Live should find the missing files. Then I recommend "Collect All and Save" from the File tab to update the Project on where those files are located so you don’t have to go through that process again.
Collect All and Save creates copies of the sample files used to the project file folder so that all your projects audio samples and factory packs are saved into the main project's folder.
Ableton Live 10 has introduced a file handling improvement that automatically creates a Backup folder within a Project after a Live Set is saved.
This folder contains the 10 most recently saved versions of the Set. You can access the backups either via the Live Browser or directly from within the Project Folder on your hard drive. Watch this video for more info~
When sharing Ableton Live projects from one computer to another, you’ll want to do the following to prevent missing audio and plugins…
Freeze tracks using 3rd party plugins (right click on the track name –> Freeze Track)
Collect All And Save. Be sure to save the .als and other contents in the original project folder. See video below on how to do this.
Ableton Live lets you create a zip file of your project and the samples used, but in a smaller, condensed format. Read below and learn how to make an .alp file....
.alp stands for “Ableton Live Pack.”
It’s a zip file of your project and the samples used, but in a smaller, condensed format. Yes it is smaller than a .zip.
Why use it?
It makes it super easy to archive Ableton Live projects and share them.
How to make an .alp?
1. File –> Collect All and Save. -This will copy any samples, packs, recorded audio, and Max for Live devices to your project folder.
2. File –> Manage Files…
3. Click Manage Project (Center option on the right pane)
4. Click Create Pack (name your .alp)
If you find that you’re frequently missing files when opening project files, it’s important to save your project files using the “Collect All and Save” option (located in the same menu as “File, Save As.”)
Sometimes when saving a project for the first time, the folder path in which it saves can default to a previous Ableton Project folder...this is often the cause of missing files. Double check when saving projects this doesn't happen!
If you have a folder on your computer where you keep all your samples, and for some reason that folder is moved (or if you share your project with someone and they don’t have that sample folder), your project will have missing files.
To prevent this from happening, you need to “Collect All and Save,” which will copy any of the samples or files used in other folders on your computer into that project file’s folder.
The Ableton Push and Push2 are custom MIDI controllers instruments developed by Ableton to specifically work with Ableton Live. The Ableton Push (Gen 1) came out the at the same time Ableton 9 was released in March 2013. According to what was written on the back of the box that the Push came in “Push is a new instrument that solves an old problem: how to make a song from scratch. With hands-on control of of Melody and harmony, beats, sounds, and song structure, Push puts all of the fundamental elements of music making at your fingertips – and it fits in a backpack.”
The concept is how could you write electronic music on a computer without using a mouse.
Ableton furthered this concept with the release of the Push2 and Live 9.5 in Nov 2015. The Push2 has several improvements. One obvious addition is a colored screen instead of an LED screen. But the pads are more sensitive, the buttons are more recessed so it feels smoother to the touch, and the menus on the screen are just more intuitive to navigate.
It depends on your workflow.
The Push2 is a great controller for in the studio as well as performing on stage, however, it does not have a built-in crossfader.
If your workflow is more like a traditional DJ where you would need a crossfader (the Push2 can also work as a crossfader) BUT you want to “crab” with the crossfader, the APC40 MKii is a solid option that has become an industry standard.
Note that the APC 40 doesn't come with default buttons for finger drummer which is a selling point for DJ's using the PUSH 2 instead.
An Instrument Rack is a container device that can house multiple instruments (both stock and third party plugins) as well as insert effects after the instrument. You can layer multiple sounds to play at once in an instrument rack. These layers are known as chains. In this way you can have one clip of midi notes that send midi to multiple instruments. An instrument will also have 8 macro knobs, which allow you to map parameters from a nested device to the outer macro knobs.
An advanced trick in an instrument rack is to split the layers into zones so certain instruments only trigger at certain times.
Zones can be split by note range so higher notes play a different layer than lower notes.
Zones can also be split by velocity values so harder played notes will be a sent to a separate zone.
Lastly zones, also known as chains, can be split by “chain selector.” In this way, each individual chain can have its own value or range of values that it will be enabled. The orange chain selector value can be mapped to a macro knob so that you can have multiple instruments nested in a rack but be able to manage which one is on at a time. This can be very useful in a live performance scenario or even when producing (especially when you want various sounds to fire in rapid succession but only 1 or 2 at a time).
Sampler is a powerful instrument in Ableton Live that allows users to import audio and manipulate the key, timing, and playback of the audio sample. It is one of Ableton’s most advanced Instruments and has a profound amount of capabilities and options for sound design.
Common uses of the Sampler include;
Playback of one-shot samples and loops while manipulating the sounds of the sample being performed in the desired key/ pitch.
Altering the original sound of the audio sample for a unique effect or specific sound.
Layering multiple samples together to interact together.
The Sampler includes several modules within it that allow you to alter the sample using Filters, Modulation, LFO’s, Oscillators, MIDI routing, Envelopes, and much more.
In this lesson, we'll get familiar with the basics of creating fresh ideas inside Live.
In my experience, it definitely helps If you have two computer screens (one for watching & the other for practicing) as you go throughout this course.
if you're brand new to Ableton Live and producing music, don't get stressed or give up when you don't see instant results. If you put in at least 20 minutes (or more) a day practicing something in Live, and stay consistent, you'll reach your goals with music so much faster. You probably spend 20 minutes brushing your teeth + showering everyday.
If you promise to spend every day for 90 days practicing in Ableton Live, I'd be happy to do a free 30-minute private lesson after you reach that goal. Let's get after it.
In this longer video, let's look at how to start recording with MIDI clips using a bunch of Ableton Live's workflows and features.
I recommend taking notes for this video as it has a lot of important tips when recording new ideas!
We'll talk about key features including:
Quantization
Session Record Button
Recording MIDI & Clip Functions
Recording Audio & Setting up Preferences
Track Monitoring
Latency (working with your Buffer Size)
Having both Session and Arrangement View gives us more creative options for composing and performing songs. I typically start my new ideas in Session View, and then quickly copy/ paste/ organize them in the Arrangment View....but that's my workflow. There's no right or wrong with jumping straight into Arrangment View to start producing (more on that later).
You can easily copy/ paste clips between both views, or record anything played in Session View into Arrangement View in real-time.
We need to tell Live which view we want to hear. You cannot play a single track in both views at the same time.
Ableton Live includes tons of audio samples, instruments, and effects to work with using the Packs tab in the Browser. However, if you're looking to expand your library of sounds, consider joining a sample pack library subscription like Splice.com
You can download individual samples from Splice's desktop app and drag directly into Live. I'll share some quick tips on how to do this in the video below.
Don't forget to visit the DOWNLOADS tab in this course for more sounds and instrument options.
CLICK HERE to join Splice. Download the desktop app and get access to endless samples of guitar, drums, bass, and more that you can search by tempo / key/ genre.
You can also use Splice to download 3rd party plugins and rent-to-own them. (external software you can run inside Ableton Live)
You may want to make compositional changes to a song...repeat the chorus, cut out the verses, etc. You can easily do this in Arrangement view, and then copy/ paste them from Arrangement view into Session view to perform live. Ableton Live's Consolidate feature is useful for combining multiple clips on a track into one single clip, and then copy/ paste it into Session View!
When editing in Arrangement view, you'll notice the audio clips won't align with the background grid unless you have them properly warped to Live's BPM, unless the BPM is already set to what the audio clips were originally recorded at.
Once the audio clips are locked in to Live's tempo by Warping, you can speed up/ slow down the song. I usually warp my clips in Session view, and then copy/ paste them into Arrangement view for editing purposes. Then I'll throw them back into Session view to perform with.
(click video gear icon to adjust playback speed)
Using Live's Freeze and Flatten functions can be very useful when editing a song's arrangement with individual tracks. It can help prevent your computer working too hard when adding new effects and devices to tracks, keeping tracks in your project well organized, etc.
Here's a video explaining how to Freeze and Flatten, and various ways to use this helpful feature...
(click video gear icon to adjust playback speed)
Ableton Live makes it easy to edit an entire song in Arrangement view, and then transfer it to a single scene for playback in Session View. This function is known as "Consolidate Time to New Scene".
This can be extremely useful for capturing tempo changes in a song, setting up transitions between multiple songs, and preserving automation that is edited in Arrangement view. Consolidate Time to New Scene makes all this possible to playback the entire arrangement in Session view on a single scene for performing live.
(click video gear icon to adjust playback speed)
Live's Clip Envelope feature is a powerful tool that is often underutilized for setting up a live performance.
Like many DAWs (Logic or Pro Tools) you can draw automation to control track and device parameters. Clip Envelopes, on the other hand, are snippets of automation that only exist within Audio or MIDI Clips themselves. Clip automation can be used to change a clip's parameters and/ or devices on the track that the clip is playing.
You can use Clip automation for a variety of reasons, such as changing sounds and instruments between songs, triggering effects, muting and un-muting tracks, etc....
For example, I can run my live guitar into Ableton Live, and use a clip envelope to change Guitar effects between scenes/ songs. This is sometimes referred to as a "dummy clip", because the clip itself is not playing sound, it's purpose is to trigger my guitar effects on that track.
In this next video, we'll look at several ways Clip Envelope Automation can be useful for live performance...
(click video gear icon to adjust playback speed)
In this video we’ll learn what the pad grid layout for the Push is, how its notes are laid out and how to play a major scale and triad chords.
This pad grid layout is otherwise known as the isomorphic keyboard.
Moving vertically, by default, notes are a 4th apart. Moving horizontally each pad is the next note in the scale. If the note is the track’s color, this is the root note.
You can also play a scale by playing the first 3 notes on the first line, the next 3 notes on the line above, and then the next 2 notes on the line above until we reach the next octave. 3 + 3 + 2 = 8
In the last video, I showed you how to browse through and add instruments to midi tracks with the Push2 in Browse Mode.
In this video we’ll learn how to pick any other scale type by pressing the Scale button when in note mode.
Ableton Live will remember the scale you picked on the Push for that specific project after you’ve saved your project
In the last video, I explained the isomorphic keyboard and how to how to play a major scale and triad chords on the pad grid in the default C Major scale.
(click video gear icon to adjust playback speed)
In this video, we’ll explore the Push2’s other layouts for the drum rack. These additional layouts are the 64 pad view and the 16 velocities mode. I’ll also show how to change each cell/pad color.
In the last video, I explained the how to play and navigate cells in Live’s Drum Rack on the Push2.
(click video gear icon to adjust playback speed)
In this video we’ll record played notes in the drum rack. In the last video, we explored the Push2’s other drum rack layouts; the 64 pad view and the 16 velocities mode.
1st press of the record button will start recording.
2nd press will end recording.
3rd press will enter overdub mode.
Any additional presses will toggle playback and overdub modes.
Additionally I’ll show how to use Accents and demonstrate how velocities are recorded by the pressure applied to pads as well as having velocities stick when recording using 16 velocities mode.
(click video gear icon to adjust playback speed)
In the last video, we explored how to record and overdub in the drum rack. In this video we’ll cover some VERY USEFUL recording tips to get the most out of your ideas. These tips include…
Pressing the New button will prepare the next clip slot for recording and duplicate all other playing clips on other tracks to a new scene.
Press Fixed Length to toggle Fixed Length Recording On and Off, Hold down on Fixed Length to specify clip length.
The Undo button, is a faster way to get rid of an overdub layer, or any other action.
Press and hold Quantize to specify a value of quantization, you can even add swing if you want.
Press quantize again to snap notes
When holding down on Quantize, you can enable record Quantize from the menu, where played notes will sound exactly how you played them, but will automatically be recorded as snapped notes
When the repeat button is enabled when both playing or recording, you can play continuous notes when holding down on a pad at an interval specified by the scene/ grid buttons
Add swing in REAL TIME, by turning the swing knob while the repeat button is enabled
In the last video, we explored some VERY USEFUL recording tips in the drum rack to get the most out of your ideas. ALL of those tips/features shown are also available in instruments with the isomorphic keyboard.
These tips include; the New button, Fixed Length Recording, the Undo button, Quantize, Record Quantize, the Repeat button, and the Swing knob.
When the Push2 is in note mode, you can hold down on select while tapping the touch strip to toggle between pitch bend and mod wheel.
In both the drum rack and on the isomorphic keyboard view, selecting tracks using the lower display buttons will let you navigate between existing ideas. The left and right arrow buttons on the Push2 also allow for you to select tracks.
A selected midi track will automatically be armed. You can arm any track from the push by holding the lower display button for that track while pressing the record button on the Push2.
Pressing the upper and down arrow buttons will trigger clips in session view.
(click video gear icon to adjust playback speed)
In this video we’ll cover how to modify your sound on a specific track in device mode. Start by pressing the Device button. You can control Ableton devices as well as 3rd party plugins in device mode.
In the last video, we concluded showing VERY USEFUL recording tips for both the drum rack and isomorphic keyboard view, as well as giving you the ability to navigate to different tracks to play with different ideas.
In device mode, you can select different devices in the chain of the current track. The name of the current track will show up below the first upper display button. Press the first upper display button again to enter into Edit mode. THIS WILL LET YOU CONTROL MORE THAN 8 PARAMETERS!
In edit mode, the lower display buttons will bring up additional pages of parameters for that device. You can exit edit mode by pressing the first upper display button again.
To add additional devices or FX to a track, press the Add Device button. You can also add an instrument from the Add Device button, but that will replace the existing instrument on that track.
To delete a device, press the Delete button, and then press the upper display button that corresponds to that device. To disable a device, press the Mute button, then press the upper display button that corresponds to that device. If you hold down on Mute, you can enabled locked muting where you can toggle devices on and of by only selecting their upper display button. To exit this behavior, hold down on Mute again.
To move a device or effect to a different position in the track’s chain, press and hold that device’s upper display button, then use any of the 8 knobs to scroll the device to the new position. Release the old upper display button after you’ve moved your device.
In this video, we’ll learn how to automate parameters. Changes over time to parameter’s knobs can be recorded as a clip.
In the last video, we learned how to add devices to a chain, control more than 8 parameters on a device, delete or mute devices, and rearrange the position of devices in a chain.
To record automation, first press the Push2’s Automate button so that it turns red. Then obviously you’ll need to press the record button and turn a knob to record a new clip or you can even add automation to an existing clip.
Press the Automate button again to stop recording automation. The clip will play back the action of you turning knobs with a white dot next to the parameter.
To delete automation, hold the Delete button and touch the specific knob of the selected parameter. If there wasn’t automation for a parameter, holding delete while touching the parameter will snap it back to its default position
If you turn a parameter during playback to override automation that has been recorded, you will disable that parameter’s automation. The white dot will change gray and the parameter will stay at its last touched value.
To re-enable all overridden automation, press and hold the Shift button, then press the Automate button.
In this video, we’ll learn about the features of clip view, which is useful when editing existing clips. In the last video, we learned how to record automation to new and existing clips, and how to override, re-enable, and delete recorded automation.
You can adjust various clip parameters, such as enabling or disabling loop, setting the loop length and loop position, as well as the start offset of the clip.
Different types of parameters will be available depending on the type of clip selected.
With loop off, you can control the start and end position of a clip. You can hold down on the Shift button while turning knobs for fine tuning control.
Audio clips have additional parameters. You can zoom in and out of a sample with Knob 1. The focus area that you zoom into is dependent on the last touched clip parameter such as the start flag.
You can also set the warp mode as well as other various audio clip parameters from clip mode.
(click video gear icon to adjust playback speed)
In this video, we’ll explore step sequencing with drums in a drum rack. To begin step sequencing, tap the sound you want to sequence, then tap the pads on the upper half of the pad grid to place the steps where you want them.
In the last video, we learned about the various features of clip view such as enabling or disabling loop, setting the loop length and loop position, the start offset of the clip, and zooming in and out of audio clips.
By default, each pad step in the sequence is a 16th note, making 1 line into half a bar. But this increment size can be changed with the scene/grid buttons.
The left most knob on the Push2 is the tempo knob.
You don’t have to be recording to step sequence. The current playing step will be red if you are recording notes in a clip outside of the Push2.
Tapping a step that already has a note will delete that step. If you’re unsure about a step, you can press and hold the mute button while tapping a step to mute specifically that note.
If you hold down on a step, you can fine tune its parameters such as nudge, note length, and velocity.
If you like your loop, but want to edit a duplicate for variation, press the Duplicate button. Obviously we can create a new clip by pressing New and delete a clip by pressing the Delete button. But you can also delete all notes for a specific sound or cell in a drum rack by holding Delete while tapping that pad in the lower quadrant. If you press Delete while tapping a pad that has no sequenced notes, you’ll delete any devices on that drum rack cell.
Pad Color Meaning:
-Grey: Step has no notes -Green: Current playing step -Clip Color: Step contains a note (darker shades are higher velocities) -Much Lighter Version of Clip Color: Step has a note, but the step is muted -The Right 2 Pad Columns: will be unlit at triplet intervals.
The bottom right pad grid quadrant is to select sequence pages. Green is the current playing page. Pages are always 1 bar long. Tapping 2 pages at once will create a clip with the combined length of the pages (and the pages in between).
You can also expand your loop by pressing the Double Loop button or by pressing an empty page outside the current looped area.
In the last video, we learned how to step sequence drums with the Push2 in a drum rack. In this video, we’ll learn how to step sequence instruments in the melodic step sequencer.
From the isomorphic keyboard, to toggle in and out of the melodic step sequencer, press the Layout button. Also melodic step sequencing is polyphonic, so you can also sequence harmonies.
The pads from the top row adjust the length of the loop, which is similar to the pages in the drum step sequencer.
When you press the Scale button, the available scales will appear. When In Key is selected from the scale menu, the 7 rows below will be the notes in the selected scale. When Chromatic is selected, notes that are in key are gray while notes of key will be unlit (until a step is created).
The brighter, white row (by default the bottom row) is the root note of the key.
Each column of horizontal pads represents a step. The step interval resolution is set by pressing the scene/grid buttons. The right 2 pad columns will be unlit at triplet intervals, just like in drum step sequencing.
You can shift the range of notes with the Octave Up and Octave Down buttons. The range can also be changed by scrolling up and down with the touch strip. Hold the Shift button while moving the touch strip, to move by octaves. Hold shift while pressing the octave buttons to move by single notes. The Push2 screen will briefly show the available range window as you adjust it.
With the melodic step sequencer, the length of the page is determined by the size of the step intervals. If your interval is set at 16th notes, 1 page would be half a bar because 1 page is 8 steps, and with 8th notes, one page would be 1 bar.
If you single tap a page, you will lock that page to the Push2 for editing, but Ableton will continue to play the rest of the loop. This means the page you see might not necessarily be the page you hear. You can also navigate between pages with the Page Left and Page Right buttons.
To expand back to see all sections of the loop, single press the first and last page at the same time.
Double Tapping on a page will loop only that page. To expand the loop again, press the Double Loop button, or single tap the first and last page at the same time.
In this video, we’ll explore more how to load in our own custom sounds, directly from the Push2 and better control them.
In the last 2 videos, we saw several new features by learning how to step sequence drums in a drum rack and step sequence melodies in the isomorphic keyboard.
In this video, we’ll learn how to alter sounds of specific drum cells and understand how Choke Groups work, as well as how to control individual chains in an instrument rack.
Browse mode can be used to load a sound or even replace and existing sound on specific cells in a drum rack.
If you enter Browse mode without selecting a specific cell, the entire drum rack will flash white to notify you that you are about to replace the entire drum rack.
To replace a specific cell, first enter into Device mode with the Device button.
By default, the whole drum rack is selected.
To select an individual pad, tap that pad, then press the 2nd upper display button (the square icon represents a pad).
Then we can enter Browse mode and sift through sounds to replace a specific cell.
After this process, once in browse mode, tapping other pads will select them/ replace them.
If an item has been loaded with the Load button, the Load Next and Load Previous buttons will appear to quickly sample through sounds (this also works with instruments).
In a live performance, scenario you can SELECT A DRUM RACK CELL WITHOUT TRIGGERING IT by holding the Select button while tapping a pad.
You can press the lower display button for the track the drum rack is on to expand or collapse the rack to see all of the containing sounds. In this way you can add devices or FX to specific cells.
You can also copy a pad to a different cell location.
Hold the Duplicate button, then press the source pad you’d like to copy.
Release the source pad, but keep holding the Duplicate button.
Then press the destination pad. This will replace the existing sound and any FX but keep any existing notes that were recorded.
When a single pad is selected you can also select its choke group. Choke groups are a way to isolate out sounds that shouldn’t be played at the SAME TIME, such as 2 different kicks or an open and closed high hats.
You can also press the lower display button for the track the an instrument rack is on to expand or collapse the rack to see all of the containing sounds. If only the instrument rack itself is selected, its 8 macro knobs are displayed. You can control specific devices’ parameters or add FX to that specific chain by selecting that device’s lower display button.
(click video gear icon to adjust playback speed)
In this video, we’ll explore session view mode on the push for better navigation in a live set.
In the last video we loaded in our own custom sounds in racks directly from the push.
Press the Push2’s Session Button to switch to Session Mode. The 8×8 pad grid will launch clips and the Scene/Grid buttons will launch scenes. If the track is selected and armed, pressing an empty pad will start recording a new clip. If the track is not armed, pressing an empty pad will stop playback of any other currently playing clip on that track.
-The color of the pads reflect the clip color in Ableton.-A triggered clip will momentarily flash green, then pulse when playing.-A recording clip will pulse red.
Pressing the up or down arrow buttons will move you 1 scene at a time. Likewise, pressing the left or right arrow buttons will move 1 track at a time.
Pressing the Octave Up and Octave Down arrow buttons will move you 8 scenes at a time. Likewise, pressing the Page Left and Page Right buttons move 8 tracks at a time.
Pressing the Mute or Solo buttons will mute or solo the currently selected track. As shown earlier, holding the mute or solo button for a few moments will Lock it on, which will mute or solo tracks when their lower display button is pressed. Hold on Mute or Solo again to exit this behavior.
Pressing the Stop Clip button will stop the playing clip in the currently selected track. Hold the Stop Clip button and press any track’s lower display button to stop any playing clips in the desired track.
The Stop Clip button also has locking behavior. Hold the button for a few moments to lock it on, the pressing any lower display button will stop that track’s clips. Hold the Stop Clip button again to exit this behavior.
If you hold down on the Shift button while pressing the Stop Clip button, you can Stop All Clips.
You can also hold on the Session or Note buttons to temporarily toggle between Session and Note modes. Holding either button down basically acts as a momentary switch.
Session overview will allow you to quickly navigate large sets with tons of clips.
Press the Layout button while the Push2 is in Session mode. Each pad represents an 8 scene by 8 track block of clips. For example pressing the pad in row 3, column 1 will focus on scenes 17-24, tracks 1-8.
Color of pads in session overview:
-White: The current selected block of clips where the colored boarder is in Ableton -Green: There are clips playing in this block of clips, even if this isn’t the currently selected block -Gray: There are clips located in this block of clips -No Color: There are no clips in this block.
In the last video we explored all of the features of Session View Mode on the Push2 and the Session overview layout. In this video, we’ll explore how to record with the Push2 in Ableton’s Arrangement view.
First we must manually switch to Arrangement view in Ableton outside of the Push2. If you previously recorded something into session view, and then you toggled to arrangement view, the tracks will appear “grayed out” and there will be a gray play button directly to the left of the track info on the right side of the screen. Enable arrangement recording for that track, simply click the gray play button.
To enable all tracks for arrangement recording, click the orange Back to Arrangement button, which is located above the highest track, above the grey play buttons column.
Then press the record button on the Push2. This will ready Ableton Live to record. Recording will not begin until you press play either on the Push2 or on screen in Ableton.
In arrangement view recording, recorded notes will appear green in note mode and in the drum rack, notes that would normally show up in the step sequencing area are not visible.
In the last video we explored how to record with the Push2 in Ableton’s Arrangement view. In this video we’ll change gears to understand how Ableton’s Simpler device works with the Push2 and the different modes of the Simpler.
An empty Simpler can be loaded to a track in Browse mode, instruments, Simpler. Once a Simpler is on a track, it will suggest loading a sample. After loading a sound, we’ll switch back to device view.
The waveform of the sample will be visible on the Push2’s display, along with a number of parameters that will allow you to change how the sample plays bak. These first parameters that show up are the main bank of Simpler’s controls.
By default, Simpler will set certain parameters automatically based on the length of the sample. For example, short samples will play once when triggered while long samples will be warped and loop. If the sample is warped, it will playback at the global tempo of your project file, regardless of which note you play.
Any warp settings and markers of an existing warped clip will be preserved when dragging into a simpler.
The most important feature that determines how clips will be played back is the mode control. Simpler has 3 playback modes; Classic, One-Shot, and Slicing.
Classic is the default mode and is designed for creating melodies and harmonies with pitched samples. The pitch will change based on what note you hit. It has a full ADSR envelope. Attack, Decay, Sustain, Release (which shapes the volume of the sound over time as it plays back). It supports looping, is polyphonic by default, and samples will sustain as long as a pad is pressed.
One-Shot mode is designed for drum hits or short-sampled phrases and is only monophonic. It has simplified volume envelope controls, does not have looping, and by default the entire sample will play back, even when you let go of the pad.
Slicing mode will non-destructively slice the sample across the pad grid. You can adjust how sensitive simpler is to the transient peaks by turning the sensitivity knob. You can also adjust the position of slices, and create and delete slices. This mode is ideal when working with drum breaks or fills.
In the last video we changed gears to understand how Ableton’s Simpler device works with the Push2 and the 3 different modes of the Simpler. In this video, we’ll explore specifically Simpler’s Classic Mode with the Push2.
In Classic Mode, the position controls change which portion of the samples will play back. If a sample has silence at the beginning, you can move the start position forward. S Start and S Length are shown in percentages of the total sample length set by the start and end parameters.
If you hit a pad after setting an S Start value of 50% and and S Length Value of 25%, you would only hear the last 3/4 of the sample.
S Loop will set how much of the sample is looped. This parameter is obviously only available when Loop is enabled.
You can turn the Zoom knob clockwise to zoom into a specific section of audio. The area you zoom in is determined by the last touched sample position control.
Pressing the first upper display button on simpler will enter Edit Mode. In edit mode, additional pages of parameters will become available in the lower display buttons. In edit mode throughout different pages, the other upper display buttons will toggle specific settings on or off. Press the first upper display button again to exit Edit Mode.
The “Warp As” button will set the warping of the sample between the start and end values so that the warped sample has more of a precise playback within your specified area. Ableton makes its best guess on what this value should be based on the sample length, but if it gets it wrong, you can press the divide by 2 or multiply by 2 buttons.
Crop removes the pieces of the sample outside the start and end points. Reverse plays the entire sample backwards.
In the last video we explored in depth Ableton’s Classic Mode Simpler on the Push2. In this video, we’ll explore specifically Simpler’s One-Shot Mode.
In One-Shot Mode, most of the controls function the same as in Classic Mode but with a few exceptions.
When you trigger a sample, it will continue to play to the end of the sample even after you let go of the pad.
You can shape the volume of the sample using the Fade In and Fade Out knobs. With Gate enabled, the sample will begin fading out as soon as you let go of the pad.
You can transpose the sample up or down up to 48 Semitones (4 octaves). The timbre of the sound may change dramatically when pitching up or down the same depending on which warp mode is selected.
Both Classic and One-Shot modes allow you to repitch a sample “on the fly” without changing its playback position by using Legato playback.
Once you enter Edit mode, press the second lower display button.
then set the Glide Mode parameter to Glide.
Set the voices parameter to 1, making it monophonic (this voices step can be skipped in One-Shot Mode as it is already monophonic).
As you play the pads in a legato fashion the samples will transpose pitch. For best results, make sure warp is on. Complex or Complex Pro Modes work better for pitched samples, but experiment with the different warp modes to find the right sound for you.
In the last video we explored in depth Ableton’s One-Shot Simpler Mode on the Push2. In this video, we’ll explore specifically Simpler’s Slicing Mode.
In Slicing Mode, most of the controls function the sample as in Classic and One-Shot Modes, but with a few exceptions...
The Sensitivity knob determines how sensitive Simpler is to transient peaks and thus how many sample pads are available on the Push2. Samples fill the pad grid in groups of 4 starting on the left half, then from the bottom of the right half.
By default, the Slicing Simpler is set to the 64 pad drum rack layout. You can press the Layout button to change to the 16 pad drum rack view.
The playback knob determines how many pads can be triggered simultaneously. When set to Thru, playback is monophonic, but triggering one slice will continue playback through the rest of the sample region.
Nudge allows you to fine tune the timing of each slice marker. This is really useful if automatic slicing wasn’t perfect. For greater nudging accuracy, tap the pad you’d like to adjust, then use the zoom knob to get a better look. Hold down the Shift button while adjusting nudge for an even tighter tweak.
Ableton Live 9.7 and on offer some additional slicing options. The default way slices are split up is by transients. But now there is a “Slice By” parameter which gives you 3 new ways to slice a clip; Beats, Region, or Manual.
Beats slices by grid based sections of time. The division parameter changes the grid resolution. These slices can be nudged or deleted.
Region creates slices that are equal and identical in length.
Manual slices were created via the pad slicing knob before Live 9.7, but now it is a dedicated slicing mode. Pressing an empty pad while playing back the sample will create a slice point at the current playback position
In the last video we concluded the in depth section on the Push2’s Simpler. In this video, we’ll explore the various features of what pressing the Convert button does.
The details on what you convert to depends on what is selected when you press Convert.
While working with a Simpler in either Classic or One-Shot Mode, pressing Convert will create a new midi track containing a drum rack with a copy of the simpler on the first pad. All other devices that were on the original track will also be copied to the new track.
While working with a Simpler in Slicing Mode, pressing Convert will replace the Simpler on the same track with a drum rack that contains all of the slices mapped to individual pads.
While working with a drum rack, pressing the Convert button will create a new midi track containing all of the devices that were on the selected pad.
If the Push2 is in Session Mode, and you press Convert with an audio clip, you can either create a new midi with a simpler loaded with the clip’s sample or a drum rack loaded with the clip’s sample. Warp markers and settings will be preserved in the new Simpler.
In the last video we explored the various features of what pressing the Convert button does. In this video we’ll explore the endless possibilities of Mix Mode on the Push2.
To control volumes, pans, or sends, press the Mix button. Pressing the Mix button will toggle between Track Mix Mode and Global Mix Mode.
In Track Mix Mode, the knobs adjust volume, pan, and send levels for the selected track. The lower display buttons are used to select different tracks. You can hold the Shift button while turning knobs for fine tuning.
In Global Mix Mode, the knobs will adjust volumes, pans, or send levels for the 8 visible tracks. Select which parameter will be controlled with the upper display buttons. Volumes and pans will always remain visible. You can move to other tracks with the left and right arrow buttons.
Press the Master button to select the Master track. Press master again to return to the previously selected track.
On the Push2 display, groups, drum racks, and instrument racks all will have a special icon showing that these tracks can be expanded, allowing you to control parameters in the contents of these groups or racks. To unfold one of these tracks, first press its lower display button to select it, then press it again to unfold it. You can individually control the parameter of the contents by selecting their lower display buttons. Use the left and right arrow buttons to navigate to tracks or chains that may have run off the display after unfolding.
When working with an unfolded drum rack, you can hold down on Select while tapping a pad to jump to that pad in the mixer.
Also as of Ableton Live 9.7 and up, you can setup Track Monitoring and Routing directly from the Push2’s display.
In Track Mix Mode, you can select and change monitoring and routing for individual tracks.
Then press the upper display button, “Inputs & Outputs.” The first knob sets the monitoring of the track.
The second knob selects either input or output monitoring.
The third knob is used to set the source or destination channel.
The other knobs are to chose between the available chains. There is even a meter to display signal activity.
In the last video we explored the endless possibilities of Mix Mode on the Push2. Now we’ll learn how to Step Sequence Automation. Yes, that’s a thing.
But before we get into step sequencing automation, let’s review and cover note specific parameters. In both the drum and melodic step sequencers, hold down on a step to fine tune note specific parameters such as nudge, note length (the ending of the note), and velocity.
While holding down the stepped note, you can select note specific parameters by pressing the first lower display button, Note Settings. You can even select multiple notes simultaneously to edit their note settings (for example, turning up their velocity range).
When working with a drum rack, you can hold down on a pad in a drum cell, then change note settings for all notes that occur on that pad.
To create per-step automation:
Hold down on one or more steps, then press the second lower display button, Automation.
You can then adjust parameters with the knobs.
Once adjusted, that step or group of steps will snap to your adjusted value for the time of that step.
Each step can be a different value, if desired. You can even automate steps that don’t have a note by pressing that empty pad step, then adjusting parameters.
In the last video we learned how to step sequence automation. Now we’ll learn the nuances of the Push2’s User Mode as well as how to use the touch strip as a crossfader for DJing.
The Push2’s user mode allows for the use of custom midi mappings. This is useful for live scenarios when you want specific parameters to always be mapped to the same buttons on the Push2. You can toggle in and out of User Mode, by pressing the User button, but this will switch off regular functionality until User Mode is existed.
In order for User Mode to work, we need to enable the Push2 to be used in Ableton Live’s Midi Preferences Midi Ports.
To send notes and remotely control Ableton Live (aka midi map a parameter), we need both Track and Remote enabled for our Push2’s input. To receive LED feedback that our remote control of Ableton was successful, we need to enable Remote for the Output of our Push2.
The user Port on Windows is called Ableton Push2 (Port 2), but is just called Ableton Push2 (User Port) on Mac OS.
To map a software button or knob to a hardware button or knob, first press the Midi button in the right corner of the screen. This allows for midi mapping for any parameter that is highlighted in blue. Click on the desired parameter in Ableton, then touch the destination button or knob on the Push2.
When mapping knobs with the Push2 in User Mode, use the Relative (lin 2’s Comp.) Scaling.That’s the 2nd option from the bottom. Turning knobs is much smoother in this scaling.
We can also use the Push2’s touch strip as a crossfader.
First let’s make sure Live is ready for a crossfader to be mapped. Obviously we’ll need to click the X (below io button, to the right of fader on master track) to view the crossfader and the decks along the bottom of the tracks.
But then we’ll need to assign a track to deck A and a track to Deck B. Now we can enter midi map mode in Ableton and map the touch strip to the software crossfader.
The only problem is that when you let go of the touch strip, the crossfader will snap back to the center because a pitch bend will always snap to the center.
To avoid this behavior we’ll need to “ride” the user button. Exit user mode back to the normal push functionality. Then re-enter User Mode, but don’t release the user mode button yet. Move the touch strip where you want it, then release the user mode button while still holding the touch strip position.
Once you exit user mode, you can then release your finger from the touch strip. By doing this, the crossfader will “stick” at your desired position.
Here’s another few details to consider when in User Mode.
You can’t midi map the User button
Turning a knob will send a CC value, but tapping a knob will send a midi note, which can be both mapped separately
The 8×8 pad grid which send note values, good for toggling parameters
All other buttons send 0 OR 127 CC values, which can be useful momentary switches
Mapped buttons will light up when the parameter in Ableton is turned on. If you want LED feedback from playing notes in User Mode;
1. We’ll first need to enable the Track Output for the Push2’s user port in our midi preferences. 2. Then create a blank midi track, change its input to the Push2’s user port, set the monitoring to In. 3. Then change that midi track’s output to the Push2’s user port. 4. Pads will light up when you press them and change color based on velocity.
In the last video we learned all the nuances of the Push2’s User Mode and how to use the touch strip as a crossfader for DJing. In this video, we’ll learn how to use Footswitches with the Push2.
The 2 quarter inch jacks on the back of the Push2 don’t send or receive any audio. They are there for momentary foot pedals.
Plugging a simple piano sustain pedal into Jack 1 acts as a normal sustain pedal would to hold out notes.
Jack 2 acts as a hands free record button. Pressing down on the foot switch will toggle the record button, which will switch between recording or overdubbing the current loop. Quickly double tapping will function the same as pressing the New button on the Push2.
In the last video we learned how to use foot switches with the Push2. In this video we’ll learn how to tweak the default setting of the Push2’s Setup Mode. This is the final video of this course.
I saved showing the Setup menu last, because I’ve found that the default settings work the best for my personal workflow.
The Setup menu can adjust brightness, pad sensitivity, velocity response, and more.
When Pad Sensitivity is turned up, it takes less downward force to trigger a higher velocity.
Pad Gain boots or cuts the overall velocity curve.
Pad Dynamics adjusts the spread of the velocities across the output range. When turned up all the way, there will mainly be high or low output without much in the middle, and the inverse is true when turned all the way down.
The default and recommended setting for ALL three parameters is 5.
However, to make a linear velocity curve, set Pad Gain to 4 and Pad Dynamics to 7.
The Workflow option determines how the Push 2 behaves when the Duplicate, New, or Up and Down arrows are pressed.
The 2 options for Workflow is Scene or Clip.
Scene is the default. In Scene workflow, musical ideas are organized and navigated in scenes.
In Clip workflow, you’re working with only the currently selected clip.
In Scene workflow:
Duplicate will create a new scene containing all of the current playing clips AND it seamlessly switches to playing them back.
The New button is similar to duplicate, but doesn’t duplicate the currently selected clip, only the other playing clips. It creates a blank clip slot for the currently selected track, which prepares you to play or record a new idea.
The Up and Down arrows will trigger scenes
In Clip Workflow:
Duplicate only copies the currently selected clip, in a new scene, but continues to play all other clips in the previous scene. (When in Clip Workflow, you can hold the Shift button while pressing the duplicate button to duplicate all playing clips to a new scene.)
The New button prepares an empty clip slot on the currently selected track, but clips in other tracks are not affected
The Up and Down arrow buttons also move up or down by a single scene, but only the selected track will change scenes. All other playing clips will remain playing and are not affected
For topics in lessons 4 & 5, download and use the practice project below.
(heads up, you need Ableton LIve 11 Suite to open this. Download the free trial here
This project folder includes the name of each video topic. Open it as you watch the videos and follow along. (using 2 screens will be awesome if possible)
Get creative and have fun trying your own ideas in the project!
There are many workflows and shortcuts for editing in Arrangement view, which is where you’ll spend most of your time producing. In this video, let's get familiar with editing.
There's a lot of info in this video, open a new Ableton Live set and follow along....(you can adjust video playback speed in the bottom-right corner of screen)
Things to review in this video:
Fade In/ Out on Clips
Reverse feature in a Clip
Echo audio effect
Channel EQ audio effect
Consolide Clips together into 1 Clip
Quantize Settings in a Clip
MIDI Arrangement Overdub Button
Delete Time/ Duplicate Time in Arrangement View
If you haven't already downloaded the Live 11 Keyboard Shortcuts, you can do that here. I recommend printing it out and practicing...or get a tattoo of them. They'll definitely save you time producing!
Automation is one of the most important workflows for editing. It’s a powerful way to become super creative with music production.
Automation is the automatic movement of a parameter over time. Popular ways of using it include creating special hits of reverb or delay during a song transition, or causing an EQ to slowly warm/ brighten an instrument. Or creating cool wiggle sounds with Live's Auto Filter audio effect.
You can automate almost anything to happen inside of Live.
Rather than drawing automation, Live's MIDI Mapping allows you to assign almost any parameter to physical knobs or faders on your MIDI hardware controllers. This is a fun way to get more "hands on" with recording automation and movement while producing.
Things to review in this video:
Creating Automation w/ Draw Tool
Automation Lanes
EQ Eight
Re-Enable Automation button
Automation Arm button
Automating Volume w/ Utility audio effect
While we're on the topic of Automation......
Live includes a ton of great instruments & effects in its Packs in the Browser...However, if you decide to purchase software plugins (outside Live) and run them inside Live (called VST's or Audio Units), you might want to automate the parameters inside that plugin. I'll show you how to do that in this next video...
Below are some plugins by category that I really love. You do not need to buy these, as Ableton has lots of Packs, Instruments, and FX you can use....
ALL INSTRUMENTS (FREE)
- Check out Spitfire Labs for a wide variety of great free plugins
BASS INSTRUMENT
- Serum by Xfer Records
- Trilian by Spectrasonics
- Substance by Output
- Kontakt libraries (you can install different libraries in Kontakt plugin)
SYNTHS
- Arturia V Collection
- Serum
- Pigments by Arturia
- Omnisphere
- Kontakt by Native Instruments
- Arcade by Output
GUITAR AMPS
- Helix Native
- Guitar Rig
REVERB
- Valhalla Vintageverb or Shimmer
ALL OTHER INSTRUMENTS
- Arcade by Output (has tons of audio loops/ instruments to play with)
One of the hardest things in music production is creating transitions from one section of the song to the next.
In this video, I'll share several creative ideas on how to make your tracks easily flow from one section to the next, including:
adding cymbals or sweeps (and reversing them into each other)
automating delays, reverbs, or other effects
drum fills
pitch shifting/ transposing sounds
adding silence; take away instruments and bring them in again later
Things to review in this video:
Clip Envelope Automation - Changing the Pitch/ Transpose
Automate Send Knobs to Return Tracks w/ Reverbs & Delays
Creating Drum Fills
Comping is a feature added to Live 11 that lets you continue to record a section using the Loop Bracket in Arrangement view, without recording over your existing takes.
It's a powerful feature because you can hit record and experiment with ideas for awhile, and then quickly capture your favorite recorded parts. It works for both audio and MIDI tracks.
Pro Tip:
Recording tons of audio can create very large project files. It can potentially make your computer work harder when producing...I recommend deleting any Take Lanes/ audio clips that you hate and don't think you'll use later.
Things to review in this video:
Comping ideas in a Loop and saving your best ideas
Using the Draw Tool inside Take Lanes to scrub your best ideas
Using Legato in MIDI Clips to run MIDI notes into eachother
Shift + Arrow keys up & down to raise/ lower notes 1 octave
In this lesson, I'll show you some tips necessary for creating a single Ableton Live project template to use for all your performances. Once you have a template prepared for your shows, it's an easy drag/ drop process adding audio tracks to create a live setlist.
Once you've setup your individual songs across scenes to perform with, it's easy to save them to later drag/ drop into a new Ableton Live set. This helps you quickly build new custom setlists for every show.
(click video gear icon to adjust playback speed)
Some people choose to perform in Arrangement view, and have all their songs in a set spread out across the entire timeline from left to right. There are several disadvantages and advantages to using either Session or Arrangement view for live performance. We'll discuss these in the video below.
Whether you choose to perform live in either view, it can still be beneficial to organize your entire performance in Arrangement view. This gives you the option to use Consolidate Time to New Scene, allowing you to quickly make edits to tracks and clips before transferring them to Session View to perform.
In this video we'll discuss:
Using Locators to trigger sections of songs in Arrangement View
Tempo automation in Arrangement View
Key Mapping & MIDI Mapping
Use this practice project shared in the video to see an example of setting up a live performance in Arrangement View. (Songs are from my solo music project Philia... (shameless plug)
FOR ADVANCED USE CASES:
One limitation in Session View vs. Arrangement is creating smooth automation changes with Live's tempo from one scene to the next. To get around this, check out additional options to hack Ableton Live like ClyphX Pro, or a Max For Live device such as DJ Tempo
Shortcuts:
CMD + m = MIDI Mapping mode
CMD + k = Key Mapping mode
Hold CMD + Click/ drag automation = unlocks automation dots from snapping to grid
CMD + B = Pencil Tool
A = displays automation lane on a track
You don't need lots of music theory to make great music....there it is. I said it.
Some of my favorite producers use Live and admit they have terrible music theory. However, I still recommend learning music theory (scales, chord changes, etc.) because it will make producing music A LOT easier.
In this video we'll look at a few devices to hack Ableton Live and always easily play in key.
Download the Scale-O-Mat device mentioned in the video here.
If you're new to music theory, check out this long YouTube video by Andrew Juan.
Most songs in a certain genre follow a formula on how they're structured. Once you understand that structure, composing your own tracks becomes much easier 🤟
Use the following charts to analyze how different styles of music are made...pull up your favorite tracks and see how they flow. Then follow the charts below or create your own....
One of the best things you can do to become a better producer is to study how other songs were created. In this video, we'll practice studying another fully produced track and its song structure.
I encourage you to grab one of your favorite songs and follow along with this video to breakdown how it was made.
Live makes it easy to sync the timing of everything in a project to play together. This is one reason many EDM artists choose Live for remixing songs, DJing, and working with loops.
Warping allows you to time-stretch audio, so it stays in sync with your set tempo. Live's ability to play any audio sample in sync with the tempo is a very powerful feature.
When an audio clip has Warp turned on, you can quickly create "Warp markers" and move around the timing of certain hits in that audio clip. We'll look at that in this next video...
Things to Review In This Video:
Creating New Warp Markers in Audio Clips to fix mistakes with timing after recording
When recording live audio, 128 Buffer Size is a good setting (in Preferences--> Audio tab)
Tune Audio Clips with the Transpose knobs (st. or cents)
Live's Sampler Instrument is one of the most versatile instruments ever used in electronic music. I once recorded a goose honking outside my apartment and turned it into a fat synth sound.
The Sampler is really advanced, so we won't go too deep into it for this course. However, we'll look at some basic functions, and how you can take any audio sample and chop it up to create your own unique sound.
Something to consider:
(If you're wanting to take an existing audio loop, and play it back at its original recorded speed, you might want to use the Simpler Instrument. We'll look at that in the next video)
The Freeze function on a track is one of my favorite things for many reasons. When you Freeze a track, that track's output is captured. It basically takes a "snapshot" of what it's hearing.
Freezing tracks can be helpful because...
It saves your CPU from working harder (especially when using 3rd party plugins)
If you share your Live Project to another computer, and you're using 3rd party plugins, the recipient computer can still hear that frozen track if they do not have the same plugins installed
Freezing tracks can be inconvenient because...
You can't edit anything inside clips on the frozen track or devices on the insert of the track (and plugins). You can only change the track's mixer controls (aka volume, send knobs, etc.)
Choosing an Audio Interface - audio in/ out of your computer:
When performing, you may want to input audio into Ableton Live using a microphone, guitar, or another instrument. You'll need an audio interface for sending audio in/ out of your computer. Choosing the right audio interface depends on these 4 things:
1. Speed/ Latency. There are different connection speeds with interfaces today that determine the time between playing your live instrument and the playback of what you're hearing inside Live. The most common audio interfaces you'll find today in terms of speed are (fastest to slowest):
Ethernet (Ideal for sending lots of audio tracks over a long distance)
Thunderbolt
USB 3.0
FireWire
USB 2.0
2. Preamp Quality. The purpose of a preamp is to boost low level signals to the “standard” loudness of your recording gear. Audio interfaces already come with built-in preamps. And usually, they're good enough to get you started.
3. Number of Input/ Output Channels. Think about how much control you want with sending audio in and out of your computer. How much control do you want to give the sound man running the mixing board? Are you confident in the overall mix played together inside Ableton Live, or do you want to give the sound man more control over each audio track?
4. Distance; Length of cables sending audio - Sending audio across long distances will affect which connection types and cables you use.
When I perform with my band Philia, my audio routing looks like the following...(this might be way different and more advanced than what your live setup will look like)
Audio Interface - Universal Audio Apollo x8
Inputs - 1 guitar, 1 bass guitar, 1 drum pad, 1 saxophone, 2 for keyboard (stereo)
Outputs - 1/2 keyboard, 3 saxophone, 4 bass guitar, 5 electric guitar, 6 Click track from Ableton Live, 7/8 Main audio tracks from Ableton Live.
I like having a 8 channel audio interface because it gives me more inputs/ outputs for routing audio. This is especially helpful when I perform live with other band members and want to run their instrument into Ableton Live so I have creative control with looping and effects with my APC40 and DJing.
CLICK HERE to read an article with interface recommendations. I also enjoy Focusrite Clarett Interfaces, or Universal Audio Apollo (if you have the cash). Most interfaces require you to download a driver for it to be recognized by your computer, which you should find on the manufacturer's website.
If you're sending tons of audio a long distance in a very large venue, you might use something like Dante over Ethernet. You'll find this at huge venues or large churches sometimes.
In the next Topic, I'll walk you through how to route individual tracks in Live...
Let's look at how to route individual tracks in Live with an audio interface. Ableton Live's track Monitor gives you additional control for what is heard inside Live for individual tracks.
For my shows, I'll set the track Outputs in Ableton Live to go directly out of the back of my Audio Interface. The person running the mixing board (referred to as "front of house") has control adjusting the volume and mix of the individual tracks playing from Ableton Live. I do this only because I have lots of Outputs on my audio interface...AND when I trust the person running the mixing board to blend everything well together.
You'll need to consider your band's monitoring to hear Ableton Live's audio during a live performance. Oftentimes, touring bands or large venues will use an in-ear monitoring system and Ableton Live's tracks out to this in-ear system to control what they're hearing, especially when playing to a click (with a metronome)
If you're a solo artist, have a minimal band setup, or don't have the budget for an in-ear monitoring system, you can use still use Ableton Live to control your in-ear mix with your audio interface. I'll show you how in this next video using Return Tracks and Send knobs...
Whenever you're performing with a computer, you will have latency.
Latency refers to a short period of delay (measured in milliseconds) between when an audio signal enters and exits from your computer. There are several factors that cause latency...
Computer Power - Having a computer with a fast processor
Audio Interface - Having a faster connection speed (such as Thunderbolt) helps with latency when performing audio
Buffer Size
A low buffer size (such as 128 samples) is ideal when you're performing live instruments routed as INPUTS into Ableton Live
A higher buffer size (such as 512 samples) is easier on your computer, and ideal for performing MIDI instruments or only using Ableton Live for playing back audio.
In this next video, we'll be discussing the delay time that happens when performing audio and MIDI in real-time, and how to adjust Ableton Live's preferences to deal with this.
If you're using in-ear monitors, you may want to create cues for your band to follow along during a live set. In this video, I'll show you how to create and trigger your own cues in a Drum Rack.
You can download cues HERE that I created of common phrases you might need during a performance.
I can't remember producing a finished song without Live's Drum Rack insturment. It's perfect for making beats, and can be used for way more than just drums.
Live gives you a lot of Drum Rack presets in the Browser in the Instruments tab. Here's a few of my favorite drum rack packs you might consider downloading in the Packs tab:
Session Drums - Great for real acoustic drum sounds
Beat Tools- Great for hip hop or trap beats. Includes melodic loops and a large sample libary. (See Beat Tools --> Samples --> Drum Loops --> Hihat Repeats for cool hihat loops)
Drum Essentials- Includes a large sample library with a hybrid of acoustic and electronic drums. (See Drum Essentials --> MIDI Clips for lots of drum rack presets to play with)
In this next video, we'll learn the basics of using Live's Drum Rack Instrument
In this video, we'll continue to look at some of the Drum Rack's advanced features...
Download the Dan Giffin Sample Pack in the COURSE DOWNLOADS lesson which includes more Drum one-shots samples, loops, and more.
The timing and “feel“ of each clip in your set can be changed by using grooves. Live comes with a large selection of grooves, which you can find in the Browser in the Grooves tab.
Depending on the song I'm working with, I may or may not choose to use grooves. But when I do, I usually assign it to most MIDI clips that drive the song's rythm (kicks, snares, percussion, guitar plucks) and sometimes audio clips to make everything "groove" together in time.
Some of my personal favorite grooves include:
Swing SP 1200 8ths 58
Swing MPC Double Up 16ths 60
MPC 16 Swing-61
Other MPC grooves
Let's look at a few quick ways to tune your drums to the key of the song by using the Transpose knob in Simpler instrument, and the plugin Mixed In Key Studio Edition.
If you want to purchase Mixed In Key's Studio Edition plugin, see the Deals page and submit a request to purchase it at an educational discount (30% off)
There are tons of MIDI controllers on the market today used for live performance. The controller you decide to use completely depends on your needs.
Regardless of the controller you use, Ableton is compatible with nearly any controller on the market that sends a MIDI signal in/ out. I made a list below for several MIDI controllers I recommend performing live.
In this video, I'll explain Ableton's MIDI preferences using the APC40 controller...
For this part of the course, download the Ableton Project of the song Crystal Lights by Philia. I'll use this as an example in the following videos lessons. (Requires Live 11 Suite or higher)
(Heads up, this is a large project. You probably need to set your Buffer Size in Live's Preferences to 1024 or higher so your computer doesn't cry)
In this section of the course, we'll start looking at important things to clean up your track and improve the overall mix.
When we refer to "headroom" or "gain staging", this is talking about how the volume of each individual track builds up into the overall mix. Think of it like a glass of water...the water is the volume and frequencies playing together, and the cup is how much room there is for all that sound to live in.
In this video we'll look at several tips for organizing your projects, how to gain stage your tracks in the mix, and applying a Limiter to bring up the overall volume of the tracks and squish them together.
Equalization (EQ) is one of the most important tools for making your tracks sound good. In these next two videos I'll share EQing tips and Ableton's EQ devices to sculpt your songs and sound smooth like butter.
Intro To EQing
DOWNLOAD ABLETON EQ CHEAT SHEET
EQing with Ableton's Devices
Compression can be a tough thing to grasp if you're new to it. Most modern dance music today is heavily compressed, meaning the dynamics of the instruments are leveled so the quietest and loudest peaks are smashed together.
In this video below we'll dive into Ableton's compressor settings, and when/ how to use them for various instruments.
DOWNLOAD THE ABLETON COMPRESSION MIXING CHEAT SHEET HERE.
Sidechaining is a popular technique that "tells" one track to jump out of the way when another track is playing. You can enable sidechaining using several Ableton devices (Compressor, Glue Compressor, Gate, etc).
Why would you need sidechaining? Common uses include....
- Fixing sounds that are "fighting eachother" and sound muddy when playing at the same time
- Creating a "pumping" effect, commonly used in House music.
Let's look at sidechaining using Ableton's Compressor device in the next video.....
"Audio saturation is essentially what makes analog hardware sound musical and pleasing. Distorting sounds through tape, tubes, transistors, and circuits have long been an ingredient in great-sounding mixes. Saturation is a subtle form of distortion that adds pleasant-sounding harmonics".
Ableton Live gives us some great tools to add distortion and grit to sounds, including Saturator, Overdrive, Redux, Drum Bus (Crunch knob), and more.
Let's look at how to use saturation in the next video....
DOWNLOAD THE ABLETON SATURATION MIXING CHEAT SHEET HERE
Gating is a helpful mixing technique that lets you shape when a sound is being heard. Common uses include placing a gate on multiple drum microphones, so one mic doesn't "bleed" noise into the other mic. It can also be helpful to make a longer sustained 808 bass to cut out faster....among other uses.
In this video, we'll look at how to use Ableton's Gate device.
Reverb is everywhere. How you use it in your music and the different types of reverb can be a game changer for creating "space" in your mixes. In this video, we'll dive into the different kinds of reverb and when/ how to use them.
I break down the overall types of reverbs I use by:
- Room Reverb
- Large Hall / Special FX Reverbs
- Plate Reverb
Ableton Live gives us awesome audio effect devices, including:
- Reverb
- Hybrid Reverb
- Convolution Reverb (Need Live 11 Standard or higher, or Max For Live)
DOWNLOAD THE REVERB MIXING CHEAT SHEET HERE
In this next video, we'll look at a few tips and tools in Live for making your tracks sound big and wide, as well as mixing tips for tightening low frequencies (sub bass) using
- Utility
- Chorus-Ensemble
- Delays & Reverbs
- iZotope Ozone Imager plugin (Free Download HERE)
Referencing is when you compare your mix to other tracks on multiple speakers. It's probably the most important thing you can do when it comes to finishing your tracks.
Mastering is the final stage of mixing your tracks before being released into the world. It's basically all the mixing concepts we've covered in this lesson, but way more advanced on steroids.
Just remember, you're only as good as you can hear. So that's why the best Mastering Engineers have awesome acoustic-treated rooms with speakers and headphones to listen.
In this video, I'll show you some referencing tips as you finalize your tracks before the mastering process.
My Personal Preference:
I master tracks for other artists all the time. BUT I don't usually master my own tracks. I like sending my finished songs to a mastering engineer I really trust, he might hear things I might not have noticed and improve the quality of my mix a little further....
DOWNLOAD SWISS ARMY METER HERE (As shown in the video for measuring loudness)
Come back soon....progress will be posted in the member Facebook Group and on Discord.
Come back soon...Progress will be posted in the member Facebook group and on Discord
Auto Filter is something I love for making wiggles, adding distortion and character to sounds, and all types of movement. Learn it's basic layout and see how I use it in the video below...
PRO TIPS:
- Try Automating the Frequency and LFO settings!
- I didn't mention in the video, but click the arrow in the upper left corner to see the SideChain window. You can Sidechain it to other instruments!
Come back soon...Progress will be posted in the member Facebook group and on Discord
Download the Infinite Drum Rack HERE and start producing drums faster
Watch this video on how to install this rack (Start at 1:20)
Watch this video on how to use the infinite drum rack:
Download my sample pack HERE, which includes a bunch of loops and one-shots of audio to help you get creative and start producing.
After installing, I recommend moving the main folder into your User Library on your hard drive, so you can access/ view it inside Ableton Live's Browser.
Here's some awesome samples with one-shots and loops by one of my favorite electronic artists Koan Sound. It includes:
* 3 Dirty Bass Loops (Try using in Simpler or Sampler instruments)
* HiHats, Kicks, Snares
* 12 Rhodes Keys Loops
This MIDI Effect is perfect if you struggle with music theory, or always want to play in key and smash notes on your keyboard. Place this device on any MIDI Track, set the scale you want to play, and never play out of key regardless