Area Of Expertise

For no other reason than it was “availableton” I opted to use a FCB1010 midi foot controller, a decision I almost regretted when I started to try and programme it. I decided that I wanted to program it to trigger the scenes in Ableton Live. The FCB1010 can send or receive any midi message. After reading the manual I decided to program the FCB1010 to send a midi note from each foot switch. This means assigning a note to each foot switch on each bank. I will not go into detail on how it’s done however, bank 01 footswitch 01 sends note G0, bank 01 footswitch 02 sends note G#0 each footswitch programmed to send a note ascending chromatically. For this project all messages are on channel 1.

FCB1010 Midi Foot Controller Tascam USB Audio/MIDI Interface.

The FCB1010 now needs to be connected to the computer. This has to be via a Audio/MIDI Interface which enables the foot controller to ‘talk’ to Ableton Live. Now to assign MIDI foot controller messages to Ableton live. Turn on Midi Map Mode Switch (as shown) highlight the control you want activate – in this case scene 1 Intro. Now press the button on the foot controller that you wish to assign in this case Bank 01 Button 01. This now shows as 1/G0.

Adding an appropriate effect.

-Adding an effect in send and return mode on my truck. I will first find the instrument or effect to be used from audio effect browser icon circled in red and numbered as number two on my illustration picture bellow.

Then i have to find the appropriate effect on down drop list of effect. The one circled in red and numbered number three is the one i have selected, (filter delay).

- The next thing i have to do is to create a return channel, where my effect is to be controlled. Right clicking on the track title bar, then selecting insert return truck will open a new return channel.

When the return channel has been created, i just need to click on the name of the selected instrument and drug to the return channel.

After a return channel has been created now i can send any audio channel on my project to this return effect instrument; by just turning on the send button on any audio channel.

Double clicking on truck list over the return channel will display the device which is to be set accordingly by clicking on the button to vary the sound.

For next week i expect making more break down on my project so that different tune can be mixed and play together.

Using a filter effects within my Bongo sample

In my track i want to use a bongo sample to give the track a little more feeling to it, when I loaded the sample into to the session view, it sound a bit hard and overpowering my other sounds, so i decided to put a processor/filter on the sound of the bongo to give it a better sound.

Using a Compressor and EQ to create a deep Bassline

In my grime cross bassline project I used a compressor and two EQ three on the bass to create a deep Bassline, to give that underground bassline feeling to my track, this means I needed to change certain switches in the compressor

(see arrows)

In the compressor I check the envelope from a peak in the second Bass to an opto to give a different feeling to the Bass from the first Bassline that I am using for my main bass.

Also in the compressor i changed the attack and the release switches, I changed the attack switch to 3.16ms and the Release to 70.6ms and i also changed the model to FB to give the of the bass a pushing back and fort feeling as this bass would be underneath my main bass.

I also used two EQ three with the compressor

I used the EQ to give a more heavy sound to my bass, the way i did this is that i changed the gain low and the hi grain switch. the first EQ I used i changed the low grain to 6.00db and the mid grain to -6.70db, I also changed the hi and low freq to give that pan feeling from speaker to speaker.

The next EQ I changed all the gain different from the first one, this gave me a tumbing sound as i changed the low and hi freq to 670hz and 250khz

Adding effects

The looped, warped and transposed sample now needs a little something else to fill the sound out a bit. Reverb and Delay are standard effects used in recording to achieve a fuller sound, so I will at least use one of these on the sample, and adjust it until it sounds right.

To start with, a return track is needed. This is acheived merely by right clicking in empty track space and selecting “Insert Return Track”.

Once created I went into the Live Devices menu (1) on the left of the screen, and found the effect (2) I wanted in the new return track. Then I dragged it into the return track (3).

This assigns the return track with the effect dropped on it, and all audio and midi tracks will automatically have a send control assigned to the return track.

The example below shows a reverb effect assigned to the “A” return track (4). It also shows the send controls for the reverb (5), which have been adjusted for the tracks that I decided needed reverb.

The Reverb effect (once placed in a return track) is then also available as a control in the clip envelope (like the transpose function in the previous blog) so that it can be adjusted automatically through the loop as it is played, and not just set for the whole track and therefore all the clips in it.

I also added “Beat Repeat” and “Simple Delay” as return tracks. I use the reverb extensively as it can soften any particularly harsh sounds, and “fill” out the sound. Delay can be used in small doses to fill out further the reverb, or to create an echo effect. I have used a lot of beat repeat and delay on the main drum section to create a more rhythmic feel to the beat without using more drum hits. The delay is also a stereo effect, and the “echo” effect from it pans left and right whilst decaying, which adds a nice dynamic feel to the beat.

Adding an appropriate processor…

Within my project plan i stated that i was going to use psycedelic sounds within my project and create something maybe reminiscent of psytrance.

I researched into psytrance music to see what effects and processors, bass and other usual traits psytrance had, i found that a lot of psytrance djs make good use of the EQ processor, cutting out high and/or low frequencies to vary the music.

I had already been briefed about the need to keep my performance interesting, so i felt this processor would be a good idea.

I decided this processor would work best as something that could be changed live, but needed to be on the main master track so it would affect all channels. In order to do this I clicked on the master track enabling me to drag the EQ into the audio effects pane(1).

I could now change the overall feel of the track, leaving maybe just the bass in, or maybe taking it all out using the two controls highlighted below. This i found easy to do and it can be very useful.

Using A Range Of Ableton Instruments

Within my project, I decided to use a range of instruments from ableton. I needed drums, so I decided to use Impulse, this enabled me to have 8 drums maximum and allows for slight modifications to each drum and even has global controls.

All the instruments are found in the live devices area under instruments, in the file browser(1).

IMPULSE

Above is the Impulse instrument, with 8 drum slots(A), individual drum controls(C) and also global controls(B).

Within my project i used a preset from Ableton as my drums, the preset could be found within the instruments(E), after coming to document my project i found that the Impulse instrument was not named, this meant i did not know what my preset was, however all was not lost as I found the hot swap (D) tool allowed me to find my presets with ease.

I then used this preset to record MIDI drum beat by drawing in using the pencil tool. As you can see the drums are assigned to MIDI Keys(F), these can be recorded in using the MIDI controller keyboard or just drawn in as i prefer to do.

ANALOG

I also used Analog which a synthesiser that comes with Ableton, I used a preset within this from the sound effects area. This was the Car Alarm preset.

I decided on the car alarm preset because after some experimentation with the preset i found it was good to build up with a steady change of release(2).

Also you can make your own presets with the actual synthesiser controls(1)

Within my project i did have a go at create my own sounds using analog but found it time consuming and not the best degree of accuracy when creating suitable sounds, so i personally recommend using the presets, they are good quality sounds and easy to modify.

In keeping with my preset sounds, i decided to use more presets from the instrument rack, this enabled me to quickly experiment more with creating variations and combining them concentrating on the performance side of things and my chosen area of expertise.

Clip View & Envelopes…

Using the sampled sound I had created (in the previous blog), I needed it to change the pitch in which it was playing, but not for the whole loop – only parts of it.

For this I copied the clip that already existed into a new clip space ready for manipulation (Click and hold on the clip to be copied (1), and whilst holding down the control key, drag it to a new space (2), then let go).

Then, by double clicking on the copied clip, I brought up the clip view.

Within the envelope settings it is possible to adjust many different variables that change the way the clip is played. It is also possible to make the variables act over a larger timescale than the clip itself, and as the looped sample I used loops every beat, and I want it to change in pitch over a number of bars, the clip envelope is the perfect tool for the job.

The clip envelope settings are brought up in the clip view by clicking on the little “E” button (3) at the bottom left hand corner of the clip view. Within the envelope settings there is a Region/Loop “Linked” button (4) that when clicked deselects and becomes “Unlinked”. This is the switch to enable you to adjust the envelope over a greater time than the loop. The envelope window changes to show the beats and bars the loop will then loop over, in which can be set the transposition changes I want on the clip.

I then clicked on the transpose button ( 5 ), and the window then showed a straight red line ( 6 ) across the middle of the envelope window. This shows the transpose setting for the length of the defined envelope. As a flat line it shows no deviation in pitch across the envelope. But before adjusting the line, the start and end loop flags ( 7 ) needed adjusting to the length that I want it to play the loop and vary it. The flags were dragged out to 5 (meaning 4 bars in all) and then I used the pencil tool ( 8 ) to create the variations in pitch over the 4 bars that I wanted.

The sample was adjusted to follow the change in bass line over 2 bars, and I made a minor variation over the following two bars to create a four bar loop.

Create variations on clips, utilising a number of techniques

For the final project, I am attempting to create entirely new material. One of the ways i have used to create new material is by using variations on clips in a number of ways.

This image displays an audioclip clip i created. Double clicking on this clip takes you from session view, into clip view as displayed below.

Looking in further detail at the clip below I have highlighted parameters, they are as follows.

(1) Start of Loop Brace Marker: This is the point at which the audio clip will start to loop (if the loop section option is selected)

(2) Start Marker: This is the point at which the audio clip will start play from

(3) End of Loop Brace Marker: This defines the point at which the loop (if selected) will play to, then travel back to the start of loop point and continue to loop for a pre-defined time.

(4)End marker: This point indicates the end of the sample and where play stops (unless a loop setting is otherwise selected)

(5) Loop Brace: This indicates and defines the length of a looped section

(6) Loop indicator: This indicates whether a clip is loop enabled. When selected, this option will allow the clip to loop a section from between the start of loop (1) and end of loop (3) markers. If this loop indicator is not enabled the sample will play once from start (2) to end (4).

This is a variation on the above clip. I have utilized the loop section function (1), changed the loop length (2) from 1 bar in length to 2, and moved the start and end of loop points. I have also changed the start marker so that the clip starts from a different point in time (5).

The start marker has been placed at the start of bar two (5). This was done to make the bass sound fit in time with the beat better. The bass sound seemed to be slightly off beat when set at 1.4.3 where the note starts. The note now starts on the same beat as where the kick drum sounds are found in my drum patterns and loops for 1 bar in length (3) –(4).

The loop marker has been reduced in length so that it loops for 1 bar instead of two. The point at which it now starts looping is a lower tone note and fits nicely with the drum pattern.

The way to make variations in Ableton is seemingly endless. Aside from the technique mentioned above you can change the launch setting ie how it starts and plays, reversing audio clips, pitch shifting and warping. All these many options can be contained and controlled by Ableton’s powerful clip envelopes. I will explain more about this detail while discussing another variation of one of my clips.

The above image is of one the audio clips I have created. In clip view in its original form it appears as below.

I used lots of different techniques to make the recorded audio part fit and work within my project.

(1) I have turned the (time) warp feature on this allowed me to stretch time around the audio in the clip.

(2) Inside the circle at point (2) is point I chose for the start marker. Beat 1 is highlighted green showing the clip has now been warped. I have circled the other warp markers. These were placed strategically to alter the rhythm of my recorded vocal and keep it in time.

(3) Shows the loop section is turned on.

(4) This is where I placed the start loop marker.

(5) This is where I placed the end of loop marker, the section now loops continuously for half a bar around the section from (4) – (5).

I also utilsed clip envelopes to provide yet more variety.

(1) Inside of this box I have selected unlinked, this means that the envelope can have its own characteristics which are unlinked to the clip ie it will play the clip as I have selected and loop the section I selected , but it will have characteristics that are apllied for x amount of time etc, without affecting the others settings.

(2) This is the envelope loop section. the envelope will loop for the length of time I have selected, in this case two bars.

(3) This is the envelope type, envelopes can be created on almost setting. I have used an envelope on the mixer . controlling the track volume. It is possible to use envelopes on the clip itself or any effects attached to a track.

(4) The envelope settngs are on track volume I have the volume either on or off (100% or 0%) this was used so particular words were used while not so desirable ones were silenced. This was done to give a stuttering effect. A common occurence in the style of music I am trying to create.

Editing clips in Live

There are many ways to edit audio in Live, one way is to edit clips. This is preferable to editing scenes because it allows you to add variations to scenes. One way to edit is to reverse a clip as shown.

You may want to edit a loop in Live this is accomplished by using the arrows at left and right top of the waveform as shown

But by far the most effective way I have seen of editing audio is unlinking the audio and adding a change in the audio by controlling the Envelope by clicking on the E in the bottom left of Live as shown

Furthermore if you create an envelope it looks like this and lets you create longer variation sections:-