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Ableton Live 8 Essential Training with Rick Schmunk offers a comprehensive overview of Ableton's live audio and MIDI sequencing software and the techniques required to compose, record, and edit music, in real time, on stage, or in the studio. The course includes tutorials on compiling live sets from audio and MIDI clips, loops, or samples, applying MIDI effects, warping audio, and recording and producing songs in any number of contemporary styles. Exercise files are included with the course.
One of the benefits of owning and using Ableton Live is the instrument devices that come packaged with the various versions of the program. Let's take a look at Impulse, a simple, yet surprisingly powerful drum machine that is included in all versions of Live 8. So on this first track, I've got an Impulse preset loaded, and down here in Device view, you can see the actual device. Now the way this works is that there are eight sample slots across here, and each hold a sample for different drum. And those are, by default, mapped to C3 through C4 on your keyboard.
So if I press C3, we will get this first slot, D the next one, E the next one-- the white keys only on your keyboard. Over to the right, we have three parameters that the global, and then underneath that all of these parameters can be set independently for each sample. So as I clicked the Snare slot, you'll see these parameters change. Percussion change again. The slots themselves have a Preview button. If I click on that, we will hear that kick.
(Drum playing.) We've also got a Mute button for the slot, and a Solo button. On the lower right-hand corner, we have a Hot-Swap button that allow us to swap out a different sample for the one that's in use. So if click on that, it goes to the Hot- Swap browser, and it will gradually fill with available alternate samples that I can use. For instance, I can double-click on this E-kick 10, and that will exchange that sample for the one that was in use. (Drum playing.) So I have got that sound now.
Let's go back and I'll choose the other one. (Drum playing.) You can hear the sound change. So we can load an Impulse preset by going into the Live Devices browser, into the Impulse category, and then in either the Acoustic or Electronic subcategory, you can grab a preset and drag and drop that or double-click it to add it to the session. I can also create a preset from scratch by dragging the Impulse instruments straight in to the session without choosing either a clip or a preset.
So now when I click on this track, we will notice that the slots are empty. Now there are individual drum samples available down in our library, and those are located in the Samples area, so let me take you through that. So we've got Samples and then Waveforms and in this case the Drum category, and then there is a subfolder for each area of the drum set. So if I go into the Kick category, I can scroll down very quickly, and I'll grab the E-Kick 14, and I'll drop that on the first slot.
Then I'll go back up and go into the Snare subfolder. Again, scroll down and find one that I want to use. I will drop that on the second slot, and I will just grab a couple of others. Grab a couple HiHats. So I will grab the E-HiHat 10 Closed. I am going to drop that on B, or the seventh slot, and I'll grab the Open HiHat, and I will drop that on the last slot.
Now I chose to put those four in that order because this is the conventions that Ableton Live follows with all of their Impulse presets. So typically you have kicks on C, and you've got snares on D, and then over here on the last two slots you've got Closed HiHat on B and the Open HiHat on C4. So let's take a look at some of these individual parameters that are available below. So I'll choose the Kick slot first, and below that I've got first the start parameter, and that allows me to control at which point in the audio file that will actually trigger that.
So I can delay this start point up to 100 milliseconds. I can also transpose a sample. So if I move this up--by the way, this is in half steps, and I can go either +48 half steps or -48 half steps. So if I move that up a couple, and we will click on the Preview button-- (Drums playing.) Let me move that down, so you can hear it changing. (Drums playing.) Now these values can be modulated by velocity. So the harder I strike the keyboard, the more that you are actually going to hear that pitch change.
So I move this up and I trigger that-- (Drums playing.) So you can hear the pitch changing depending upon how hard I hit the key. I can also do that randomly by setting a percentage. So each time I hit the key, it's just going to change the pitch based upon some random factor. (Drums playing.) I can also stretch the sample so that the decay lasts longer. I will do this on the Snare track.
So if I dial that out-- (Drums playing.) Now, if you dial that a little bit too long, you can actually hear the samples start to kind of break apart. Back that off a little bit. And I can also do that based upon velocity again. So the harder I hit the key, the more I'll get that stretch feature happening. Again, that's one that you got to be a little bit careful with. Now the Stretch feature can be further enhanced by using the mode A or mode B.
Mode A is good for low-frequency sounds like kick drums and maybe the tom toms, and mode B is a better mode for your higher pitched things, like hi-hats or symbols, or even perhaps the snare in this case. In the middle here, I have got a Saturation feature. Now this is going to add a little amplitude and a little drive, or distortion, to the sound. So I am actually going to come over here and pull the volume down on the snare, so as I pull this up I don't get too much volume. (Drums playing.) In that case, you can really kind of hear it amplifying and kind of distorting the decay.
Now next thing I have in the center here is I have a Filter section that can be enabled by clicking on this Filter button. I have a number of different filters that I can choose from. I've got low-pass filters, band-pass, high-pass and notch Filters. So I am going to put a low-pass filter on. And as I tap the snare, I am going to pull the cutoff frequency down, and you should hear a lot of the high frequencies being attenuated as I do that. (Drums playing.) And that can be further enhanced by dialing in some resonance, and the Resonance features amplify frequencies around the cutoff frequency, so you get a little bit more aggressive results with whatever cutoff frequency you choose.
I will dial that down a little bit, put a little more resonance on. (Drums playing.) Now this can also be modulated by velocity. So the harder I hit, the more I get based upon how much velocity percentage I dial in. (Drums playing.) And that can also work randomly just like we saw on the transposition and stretch parameters. (Drums playing.) And that's nice because one of the things that you want to avoid is that typewriter effect when you repeatedly trigger the same sample, and any change in the timbre or the velocity can make it a much more musical experience.
Over here on the right-hand side, we can also do a number of these same things in regards to the pan or volume of a particular sample. So if I choose the HiHat sound, I can actually modulate the Pan placement from left to right by setting a Velocity amount. So the lighter I hit the key, the more this will pan it to the left, and the harder the more it will pan it to the right. (Drums playing.) And that can also be done by a random factor.
Now one thing that's different about this last slot is that it can be linked to the seventh slot, by clicking on this button over on the far left. Now that allows one sample to cut off the other sample. As you can imagine, you wouldn't have decay happening each time you hit the instrument. It's going to renew the envelope. So we don't want the open hi-hat ringing while the closed hi-hat is actually happening. And by linking those two together, triggering one will actually choke the other one.
And last over here, we've got Global parameters that can either raise or lower the volume of the entire drum set. Or, we can actually transpose the entire drum set by a half step again: either higher or lower. I am going to choose this first track again. And the last thing I would like to show you about Impulse is a very powerful feature, in that I can map the outputs of the different drums to different tracks, and that will allow us to place differing amounts of signal processing on individual tracks. So, for example, I'm to create several audio tracks after that first track.
And I will use the key command Command+T or Ctrl+T on a PC to create several audio tracks. Now on this first audio track, I am going to go to the Input of that, and I'm to choose the first track, which is this 1- Impulse. And then on the second chooser, I will come in and choose the actual specific drum that I want flowing through there. So on this track I might put the Kick, and on the next track I will choose Impulse again and I'll choose the Snare, and let's just get a couple more here.
I am going to choose Impulse again, and let's grab the Closed HiHat, and on the next one I will grab the Open HiHat. Now I am going to trigger this clip, and we should see signal flowing out these different tracks. (Drums playing.) Okay, so that did not work, and the reason it didn't work is because there is not actual audio on these tracks. So to get the audio to flow through them and act more like a return track, I actually need to put the tracks into Input Monitoring, so that we are monitoring the audio that's actually input into the track.
So let's try that again. (Drums playing.) Okay, so I see the kick flowing through the Kick and the snare through the Snare and the hi-hat through the two HiHat tracks. So at this point, I want to have a little bit different signal processing on the snare. So I'm going to choose the snare track, and then I go back to my Device browser, and I am going to go down into the audio effects and the compressor, and I am going to look for something that might be appropriate. Lo and behold, I've got a Snare Compressor preset, and I am going to drop that on this track where my snare is at.
Then additionally, I might want some reverb. Now I've already loaded a reverb on this return track. You can see it there. And I can now send and get reverb returned by simply lifting the Send amount on that particular track. So I don't want it on the kick, but I probably want some on the snare and on the hi-hat. So let me send a little bit from those tracks, and now let's listen to this preset. (Drums playing.) Okay, so very obviously, I have got reverb on that track.
In addition to drum samples, Impulse can trigger any audio file. So when you're working with Impulse presets and clips, don't forget to experiment and see what else you can come up with.
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