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Building headphone cues

From: Ableton Live 8 Essential Training

Video: Building headphone cues

What a musician hears when they record has a big impact on the success of the performance. In this video, we'll learn how to set up a headphone cue in Ableton Live. So, headphone cues can be set up a couple of different ways. The first method, we'll go to the master track, and we'll use the cue method that's available there. And you'll notice that I have a Solo button. Now, if I click that, it turns into the Cue button. At the same time you notice that these Solo buttons over here turned into little headphones, or cues. So anything that I now turn on with those will be fed into the headphone cue, and you can enable multiple tracks from the headphone cue by Command+Clicking on them.

Building headphone cues

What a musician hears when they record has a big impact on the success of the performance. In this video, we'll learn how to set up a headphone cue in Ableton Live. So, headphone cues can be set up a couple of different ways. The first method, we'll go to the master track, and we'll use the cue method that's available there. And you'll notice that I have a Solo button. Now, if I click that, it turns into the Cue button. At the same time you notice that these Solo buttons over here turned into little headphones, or cues. So anything that I now turn on with those will be fed into the headphone cue, and you can enable multiple tracks from the headphone cue by Command+Clicking on them.

I'm also going to include the reverb here by Command+Clicking on this return track. Now what I need to do is I need to go up and I need to set the Cue Output chooser to a different pair of outputs than I'm sending the master output to. I'm able to do that because I have a multi-output interface. Let's take a look at Preferences. And go Command+Comma to open that up-- that would be Ctrl+Comma on a PC--and I go to the Audio Output Device. And if I click the Config button, we'll notice that my interface has four outputs enabled right now.

So three and four are going to be my cue output. Now if you have an interface that only has two outputs, you actually won't be able to that. You have to have a multi-output interface. So I'll close that. I've got those three tracks enabled for the cue, and I've got the cue set to the out. That's good. And now I can control the total amount of signal by dialing in on this knob here. And the in first time you check this, you might want to make sure that you turn it down, so it's not too loud. So I'll go ahead and hit play.

(Music playing.) Okay, we see that we've got signal happening there for the cue. Now in this particular example, or this method of setting up a headphone cue, the levels that are set in are the identical levels that are on the tracks--or I should say the mix is identical to what's being heard in the control room. Another way to do that is to not use this built-in cuing. So I've gone back. I am going to put those on solo, so that we are back to Normal mode. And I've got an additional return track here, A return.

I've also set that to outputs three and four. Now I can get signal onto this track by going ahead and turning on the send. If I want more drums than bass, I'll turn that up and turn the bass down a little bit. I'm also going to add a little bit here on the return track, going on to that same send. I'm also going to set the send to be pre-fader. The reason I'm going to do that is because as I copy the signal onto the send, it's not going to be affected by the position of the faders on the tracks; therefore if I am working in the control room, and I make a volume change on a track, it won't affect what's been set into the headphone cue.

The fastest way to get a musician to stop playing is to actually change a level on a track during playback, so that they can hear it in their headphones. So now with the pre-fader send, I can do that, but since I'm picking off the signal on the send before the fader, that won't be heard in the headphone cue. Okay. So I've got that send A set to go over to this return track, which I've set to the additional outputs three and four. I've got those set pre-send, and now I can control the total amount total amount of signal that's been copied onto that, and sent to the headphone cue by using this fader on this track over here.

So if I go ahead and click to play we should see signal on this track. (Music playing.) Okay. So setting up a cue for recording is a crucial but often overlooked part of making a recording. Now you know two ways to create a cue in Live and should be able to make the crankiest of musicians comfortable in your next live recording session.

Show transcript

This video is part of

Image for Ableton Live 8 Essential Training
Ableton Live 8 Essential Training

69 video lessons · 17048 viewers

Rick Schmunk
Author

 
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  1. 1m 30s
    1. Welcome
      49s
    2. Using the exercise files
      41s
  2. 8m 43s
    1. What is a digital audio workstation?
      4m 13s
    2. Choosing the right gear and setting up a system
      4m 30s
  3. 12m 59s
    1. Setting up audio preferences
      3m 54s
    2. Setting up MIDI preferences
      3m 31s
    3. Optimizing performance
      5m 34s
  4. 35m 42s
    1. Understanding Session view
      8m 7s
    2. Working with Live browsers
      5m 3s
    3. Working with Live clips
      7m 57s
    4. Understanding clip properties
      7m 52s
    5. Working with Live scenes
      6m 43s
  5. 28m 16s
    1. Building Live Sets and projects
      4m 25s
    2. Learning Live file management
      4m 2s
    3. Exporting content from Live
      7m 32s
    4. Importing and exporting Live Packs
      3m 17s
    5. Searching for and auditioning clips
      4m 58s
    6. Setting up frequently accessed folders
      4m 2s
  6. 23m 3s
    1. Preparing to record MIDI
      5m 51s
    2. Recording and overdubbing MIDI
      4m 32s
    3. Working with alternate MIDI entry methods
      6m 49s
    4. Using multi-output virtual instruments
      5m 51s
  7. 24m 26s
    1. The MIDI Editor
      4m 49s
    2. Quantizing MIDI data
      6m 6s
    3. Advanced MIDI editing
      6m 49s
    4. Setting up groove in editing
      6m 42s
  8. 9m 18s
    1. Preparing to record
      5m 0s
    2. Recording audio
      4m 18s
  9. 22m 37s
    1. Understanding Arrangement view
      3m 41s
    2. Recording in Arrangement view
      3m 51s
    3. Recording from Session view to Arrangement view
      5m 21s
    4. Reworking clips
      9m 44s
  10. 27m 57s
    1. Understanding Live's mixer
      12m 38s
    2. Using sends and returns
      3m 47s
    3. Building headphone cues
      3m 49s
    4. Grouping tracks
      7m 43s
  11. 43m 14s
    1. Working with effect devices
      4m 56s
    2. Understanding EQ and filters
      7m 14s
    3. Using compressors and dynamic processors
      7m 28s
    4. Building interesting effects with delay effect processing
      8m 18s
    5. Using reverb effectively
      8m 22s
    6. Setting up side chain effects easily
      6m 56s
  12. 15m 37s
    1. Creating rhythmic patterns with the Arpeggiator effect
      8m 38s
    2. Building background parts with the Chord and Scale effects
      6m 59s
  13. 25m 24s
    1. Building automation patterns
      8m 44s
    2. Editing existing automation information
      5m 3s
    3. Using fades to mask audio pops and clicks
      4m 10s
    4. Understanding the power of clip envelopes
      7m 27s
  14. 20m 17s
    1. Understanding the basics of looping
      6m 54s
    2. Creating tracks that loop smoothly
      7m 50s
    3. Using warp features to quantize audio
      5m 33s
  15. 17m 47s
    1. Using the computer keyboard to control Live
      6m 39s
    2. Mapping device controls to the MIDI keyboard
      4m 36s
    3. Using Live's instant mapping feature
      6m 32s
  16. 10m 44s
    1. Exporting audio
      5m 37s
    2. Freezing tracks
      5m 7s
  17. 20m 45s
    1. Building with the Impulse virtual instrument
      11m 35s
    2. Working with the Simpler virtual instrument
      9m 10s
  18. 36m 22s
    1. Overview of Live racks
      10m 13s
    2. Combining instruments and effects into a single device
      8m 22s
    3. Adding effects with Drum Rack
      11m 28s
    4. Assigning rack parameters to macros
      6m 19s
  19. 13m 53s
    1. Setting up ReWire with Pro Tools
      7m 3s
    2. Setting up ReWire with Logic
      6m 50s
  20. 33m 43s
    1. Preparing audio clips with the Warp tool
      14m 31s
    2. Triggering clips using follow actions
      8m 9s
    3. Using Live as a sound source
      11m 3s
  21. 7m 21s
    1. Working with video files
      7m 21s
  22. 37s
    1. Further Recommendations
      37s

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