IntroductionWelcome| 00:00 |
(MUSIC).
| | 00:03 |
Hi.
My name is Yeuda Ben-Atar also known as Psybrain.
| | 00:08 |
I'm an educator, performer, and producer,
and I want to welcome you to Making Music
| | 00:12 |
with Ableton Push.
I'm very excited about Ableton Push.
| | 00:17 |
The Push is much more than a controller.
It will help you compose melodies,
| | 00:22 |
(MUSIC), harmonies, bass lines, arrange
your music, mix, master.
| | 00:27 |
And perform live all without touching or
even looking at your computer.
| | 00:33 |
The Push is the first Ableton branded
piece of hardware.
| | 00:37 |
It offers a very intuitive and fast
approach to making music.
| | 00:42 |
Although there are a lot pads, knobs and
buttons, which at first glance can be
| | 00:46 |
confusing, or even daunting.
I'm going to show you how everything's
| | 00:50 |
actually laid out by doing an overview of
the hardware, and showing you how to set
| | 00:55 |
up everything in Abelton Live 9.
(MUSIC).
| | 00:59 |
Then I'll show you how to program beats
using the step sequencer.
| | 01:09 |
(MUSIC).
I'll also show you how to humanize your
| | 01:11 |
beats using features like quantizing,
adding swing, and using the repeat button.
| | 01:18 |
(MUSIC).
We'll explore how to play the push as an
| | 01:20 |
instrument, and also covering basic music
theory.
| | 01:25 |
I'll also show you how to control your
Live set from the Push, (MUSIC) and
| | 01:33 |
control Live devices.
(MUSIC).
| | 01:39 |
Finally, we'll see a few tips and tricks
to optimize the workflow and give you
| | 01:43 |
other ways to use the Push.
Push is a new type of instrument you can
| | 01:48 |
learn, even if you never played a musical
instrument in your life.
| | 01:53 |
Let's explore this exciting piece of
hardware in Making Music with Ableton Push.
| | 02:00 |
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| Using the exercise files| 00:00 |
If you're a premium member of lynda.com,
you have access to the exercise files
| | 00:04 |
used throughout this course.
Let me show you what I've included.
| | 00:10 |
There are folders for chapter two, three,
and four, within each folder of the live
| | 00:14 |
sets I've provided for each individual
video.
| | 00:19 |
There is not a live set for every video,
but only when appropriate.
| | 00:25 |
Ableton Push can only be used with
Ableton Live 9.
| | 00:29 |
Additionally, I build this course using
sounds that are available for all
| | 00:33 |
versions of Ableton live, Intro, Standard
and Suite.
| | 00:38 |
To follow along with the exercise files,
download these four Live packs, Designer
| | 00:44 |
Drums, Digi-Caching I, Loopmasters Mix
Tape, and Unnatural Selection.
| | 00:51 |
These packs are available to you with
your abelton.com account for all versions
| | 00:55 |
of Live.
If you don't own Ableton Live, you can
| | 00:59 |
download a fully functional trial version
for 30 days from the Ableton website.
| | 01:06 |
If you'd like to have the same file to
walk along with me, I encourage you to
| | 01:09 |
download them.
Each file will be in the same starting
| | 01:13 |
state as the one I'm using in the video.
If you are a monthly member or an annual
| | 01:19 |
member of lynda.com, you don't have
access to the exercise files.
| | 01:25 |
But you can follow along from scratch
with your own assets.
| | 01:29 |
So, let's start making music with Ableton
Push.
| | 01:32 |
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1. Introducing the Ableton PushWhat is the Ableton Push?| 00:01 |
So what is the Push?
The Push is a MIDI controller specially
| | 00:04 |
designed for, and by Ableton, and
manufactured by Akai Professional.
| | 00:10 |
The Push is Ableton Live's hardware
instrument.
| | 00:13 |
It allows us to come up with musically
and ideas on the fly, add effects, record
| | 00:17 |
automation, control the live set.
And perform live, all without touching or
| | 00:22 |
even looking at the computer.
With Push, you can make beats, melodies,
| | 00:29 |
harmonies, baselines, or any sound you
can think of all with hands-on control
| | 00:33 |
and incredibly intuitive workflow.
When you touch the Push, you can feel the
| | 00:41 |
sturdy, quality construction.
It weighs almost three kilos or 6 and a
| | 00:45 |
half pounds.
The Push is great for musicians and
| | 00:49 |
beginners alike as we'll see later.
The Push can help us make music without
| | 00:54 |
any prior music theory knowledge.
But also offers freedom and inspiration
| | 00:59 |
for the experienced musician.
Push only works with Ableton Live 9, and
| | 01:05 |
ships with Live intro.
To get the full experience, I recommend
| | 01:10 |
getting Suite 9, which comes packed with
instruments, effects.
| | 01:15 |
And over 3,000 sounds we can start using
straight away.
| | 01:20 |
We are only going to use sounds and
effects that come with Live Intro, you
| | 01:23 |
can follow along even if you don't have
the standard All Suite version.
| | 01:29 |
Push is bus powered and works with a
single USB cable.
| | 01:33 |
Additionally, you can connect the AC
Adapter which will make the LEDs brighter.
| | 01:38 |
Very useful in a dark venue.
Push setup is mostly automatic, and
| | 01:43 |
everything should be setup for you when
Live is open, and the Push is connected
| | 01:47 |
to the computer.
To make sure everything's connected, go
| | 01:52 |
to Live > Preferences, under the Live >
Preferences.
| | 01:56 |
If your in Windows, it's going to be
under Options.
| | 01:59 |
Go to the MIDI Sync tab, and just make
sure Push is selected under the drop-down
| | 02:03 |
menu, under the Control Surface.
And under indicator the Push is
| | 02:09 |
connected, and working, is the colored
square surrounding Live's Session view.
| | 02:14 |
The Push was designed to work best with
Live's built-in devices in the Session view.
| | 02:20 |
One reminder, make sure you are using the
latest version of Live.
| | 02:25 |
Since Ableton continues to add features
and improvements to the Push with almost
| | 02:29 |
every update.
You can review the release notes on the
| | 02:33 |
Ableton website.
Ableton Live is a full-fledged music
| | 02:37 |
production application.
And version nine is even better than ever.
| | 02:42 |
With the push, you get the most
comprehensive controller that was
| | 02:45 |
especially made to be an Ableton Live
instrument.
| | 02:49 |
Regardless of your musicianship or skill
level, you will start making music in no time.
| | 02:54 |
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| Working without your computer screen| 00:00 |
Before we start making music, let's
examine the hardware.
| | 00:04 |
The Push has 64 velocity and pressure
sensitive pads with RGB LEDs.
| | 00:10 |
It has a USB connection, power input, on,
off switch, and two expression control
| | 00:15 |
inputs for sustain pedals, volume pedals,
breath control, etcetera.
| | 00:22 |
The push is bus powered, with an option
for brighter LEDs with power supply.
| | 00:27 |
It's got 11 touch sensitive encoders, a
forward LCD alpha numeric display.
| | 00:34 |
And a 17 centimeters touch strip for
pitch bend and scrolling, with 24 LEDs
| | 00:39 |
for navigation.
Let's look at the Push interface.
| | 00:45 |
Here, we have the tempo section, the edit
section, the transport section, touch
| | 00:52 |
strip, the pad section, scene and grid
section, display and encoder section.
| | 01:02 |
Selection control, state control, note
section, add section, and the focus
| | 01:09 |
navigation section.
Now, that's a lot to take in.
| | 01:15 |
But, we'll see that everything is very
intuitive and straightforward as we touch
| | 01:19 |
on each one of these sections throughout
this course.
| | 01:23 |
So, let's make some music.
| | 01:24 |
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2. Creating MusicBrowsing and loading sounds| 00:01 |
Let's start off by logging sounds.
Click on Browse and notice the the LCD
| | 00:04 |
screen changes to Browsing mode.
In Browsing mode, we have three columns,
| | 00:10 |
device name, the preset category, and all
the presets.
| | 00:16 |
Depending on the version of Live you may
have installed, this list may vary.
| | 00:20 |
We can use the encoders above each column
to scroll, or use the Selection Controls
| | 00:25 |
buttons to go up and down.
Once we select the sound, load it using
| | 00:30 |
the greens selection control.
Note, that we can also load the default
| | 00:36 |
preset of the device by loading them from
the device name column.
| | 00:42 |
After loading a sound, Push will remain
in Browse mode.
| | 00:46 |
We can load a different sound or exit
Browse mode by hitting the Browse button again.
| | 00:52 |
To load the new sound to a different
track, we can navigate to it by using the
| | 00:56 |
navigation controls left and right and go
into Browse mode again.
| | 01:03 |
If we don't have any more tracks
available, we can hit the Add Track
| | 01:07 |
button, which can create a new track for
us after we choose a preset.
| | 01:12 |
To add an audio effect, hit the Add
Effect button.
| | 01:21 |
Browsing mode for effects works in a
similar way to browsing sounds.
| | 01:31 |
To access the Media Effect browser, we
will have to be focused on the instrument first.
| | 01:36 |
Hit the Device button.
The LCD will now display all the devices
| | 01:40 |
there loaded up to the track, and any
available parameters, we can change with
| | 01:45 |
the encoders.
Once you're focused on the instrument
| | 01:49 |
using the selection controls, simply hold
Shift while hitting the Add Effect to
| | 01:53 |
access the Media Effects browser.
Your user library may vary according to
| | 01:59 |
your personal saved presets.
Your presets should appear in each
| | 02:03 |
designated category.
For example, all your Instrument Tracks
| | 02:07 |
presets should appear under the
Instrument Track Device Name in Browse mode.
| | 02:13 |
That as you have the sound loaded, you
can start playing.
| | 02:20 |
(MUSIC).
| | 02:22 |
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| How to count music| 00:00 |
While it is possible to use the Push with
no knowledge of music.
| | 00:05 |
It helps to have a common language or
frame of reference, which is referred to
| | 00:09 |
as music theory.
That's the language that musicians use to
| | 00:13 |
communicate with each other, and to be
able to play together.
| | 00:18 |
If you already know about bars, and
beats, and time signature, you may even
| | 00:22 |
want to skip this video.
There are few rhythmic concepts that will
| | 00:27 |
allow us to discuss sequencing, making
beats, and ultimately creating songs.
| | 00:33 |
Now, I know we're all eager to make
beats, me too.
| | 00:37 |
But before we do that, let's break down
the concept of rhythm, or musical time.
| | 00:43 |
Looking at the Push itself, you can see
numbers on this row of buttons, and the
| | 00:47 |
main pads are all related to how we count
music.
| | 00:51 |
We count musical time by using two
reference points, Beats and Bars.
| | 00:56 |
The speed at which each Beat is played is
set by the Tempo, and is expressed as
| | 01:01 |
beats per minute, or BPM.
Which is set by adjusting the Tempo knob,
| | 01:08 |
right here.
Before we start counting beats, we should
| | 01:12 |
discuss time signature.
A time signature consists of two numbers,
| | 01:16 |
for example, you've probably heard of
four, four.
| | 01:21 |
The first number tells us how many beats
in a bar.
| | 01:23 |
And the second number tells us what the
note value is for each beat.
| | 01:29 |
So, example in Ableton Live, we can see
the time signature at the top left.
| | 01:34 |
I'm going to change it to six eights.
I am going to turn on the metronome using
| | 01:39 |
the two dots, (SOUND), and I am going to
use the Spacebar to start the transport
| | 01:43 |
and let's count.
One, two, three, four, five, six.
| | 01:47 |
One, two, three, four, five, six.
One, two, three, four, five, six.
| | 01:52 |
Now, let's change the time signature to
three, four.
| | 01:58 |
And now if we count, (SOUND) one, two,
three, one, two, three, (SOUND) it's safe
| | 02:03 |
to see that the majority of the music we
listen to is in four, four.
| | 02:10 |
And that's the time signature we're going
to focus on here.
| | 02:13 |
But I encourage you to experiment with
other time signatures.
| | 02:17 |
Some popular ones are 3 4th, 6 8th, 7
8th, and 5 4th.
| | 02:23 |
Let's turn on Live's metronome using the
Metronome button right here.
| | 02:31 |
And I'll start counting the beats of four
bars out loud, so you can hear what I'm
| | 02:34 |
talking about.
But first, let's change the time
| | 02:37 |
signature back the four fourths.
I'm going to hit the Play button on the
| | 02:41 |
Push, then will start counting the bars.
(SOUND).
| | 02:44 |
One, two, three, four, two, two, three,
four, three, two, three, four, four, two,
| | 02:52 |
three, four.
The time signature describes the overall
| | 02:58 |
rhythmical feeling of the music.
Put a certain number of bars together and
| | 03:02 |
you've got a musical phrase.
And once you arrange and sequence those
| | 03:07 |
musical phrases, you've got a song, or a
tune.
| | 03:10 |
And as I'll show you, the Push makes all
of this very easy and intuitive.
| | 03:16 |
For example, if you listen to the most
electronic dance music, you notice that
| | 03:20 |
every eight bars, a musical change
occurs.
| | 03:23 |
I'll show you how to create eight bar
phrases and sequence them easily, as we
| | 03:28 |
move forward.
I have a percussion instrument loaded up
| | 03:32 |
on the drum rack.
(SOUND).
| | 03:34 |
Lets get a MIDI clip by double-clicking
anywhere in the empty clip slots.
| | 03:39 |
Because the time signature is set to four
four, we know that each beat that we
| | 03:43 |
count is a quarter note.
Let's right-click anywhere on the grid to
| | 03:48 |
change it to a quarter note.
Here we can see all the other note
| | 03:52 |
values, which we're going to get to them.
I want to hit the quarter note.
| | 03:57 |
Now we can create simple, rhythmical
patterns by placing a note on each
| | 04:01 |
quarter note, or skipping to the next to
create a quarter rest.
| | 04:06 |
Which just means a quarter note of
silence.
| | 04:08 |
So, I'm going to create a quarter note on
the first beat, and on the third beat,
| | 04:12 |
I'm going to turn off the metronome using
the Metronome button.
| | 04:17 |
And I'm going to launch the clip using
the Clip Launch button right here.
| | 04:22 |
(SOUND).
And with the metronome, one, two, three,
| | 04:27 |
four, one, two, three, four.
So we only hear a sound on the first and
| | 04:35 |
the third beat.
We can combine two quarter notes to get a
| | 04:39 |
half note, and combine two half notes to
get a whole note, equals to one bar.
| | 04:45 |
So here is our half note and here is our
whole note.
| | 04:52 |
I'm going to hit Delete and delete this
note.
| | 04:56 |
if we go back to our beats which are
quarter notes, we can also divide them up
| | 05:00 |
to get smaller note values, which will
give us faster quicker nodes.
| | 05:05 |
We can divide a quarter node into two
eight notes, giving us 8 8th notes in a bar.
| | 05:11 |
I am going to right-click on the grid
(SOUND) and change it to an 8th note, now
| | 05:16 |
lets get a few 8th notes (SOUND).
We can divide an 8th note into two 16th
| | 05:22 |
notes giving us, 16 16th notes in a bar.
So again right-click on the grid, change
| | 05:29 |
it to sixteen and lets get a few
sixteenth notes.
| | 05:34 |
Taking this idea further, we can divide a
16th note into 2 32nd notes, given us 32
| | 05:40 |
32nd notes in a bar.
So, let's right-click again, change it to
| | 05:46 |
32nd and clear a few of them (SOUND).
All music software's today, allow us to
| | 05:52 |
divide the beat even smaller than that.
In Ableton Live, we can divide the grid
| | 05:58 |
up to 16,384 to one.
In addition to dividing notes into two,
| | 06:03 |
we can also divide them into three, which
will give us what are called triplet notes.
| | 06:11 |
So a quarter note can be divided into 2
8th notes, or it can also be divided into
| | 06:16 |
3 8th note triplets.
To do this, you need to switch the grid
| | 06:21 |
into a triplet grid.
First, I'm going to delete all the notes
| | 06:25 |
by focus on the grid, hitting Cmd or
Ctrl+A to select all the notes, and hit Delete.
| | 06:33 |
I'm going to change the grid to an 8th
note, place one note.
| | 06:38 |
Once I focus on the note I will hit Cmd+D
to duplicate, and let's listen to this.
| | 06:50 |
(MUSIC).
One, two, three, four, and select all the
| | 06:53 |
notes again using Cmd or Ctrl+A, hit
Delete, right-click, and now turn on the
| | 06:59 |
triplet grid.
Note how each beat now has three blocks
| | 07:05 |
instead of two.
Let's create some triplet notes, again,
| | 07:10 |
using Cmd or Ctrl+D to duplicate.
Let's listen, one, two, three, four.
| | 07:22 |
Remember that for all this note values
which are represented by the spaces in
| | 07:25 |
the grid you can place either a note only
with empty to create the rest.
| | 07:32 |
So combine all these note values let's
create a one bar loop.
| | 07:36 |
I'm going to delete all these notes by
hitting Cmd+A and hitting Delete.
| | 07:41 |
I'm going to right-click and turn the
Triplet Grid off.
| | 07:44 |
(SOUND).
Let's right-click again, choose quarter
| | 07:48 |
note grid, place a quarter note on the
first beat, change the grid to eighth
| | 07:53 |
note, (SOUND) place an 8th note.
On the first and second 8th note of the
| | 07:59 |
second beat, I've clicked 16th.
Let's create a few 16th notes.
| | 08:05 |
Leave some of them empty to create rests,
and also Triple Grids.
| | 08:11 |
Create a few 16th triplets and let's
listen to what we have.
| | 08:15 |
(SOUND).
| | 08:20 |
Without the metronome, (SOUND), and with
the metronome, one, two, three, four,
| | 08:29 |
one, two, three, four.
Now, this is only an overview of rhythmic theory.
| | 08:36 |
But it should provide you with a good
foundation, as you not only start using
| | 08:40 |
the push to sequence beats, and create
songs.
| | 08:44 |
But also when you are playing or
collaborating with other musicians.
| | 08:49 |
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| Programming beats using drum racks| 00:00 |
Ableton Push adjusts itself to your
currently selected track, by switching
| | 00:04 |
between different modes, as you select
different tracks, automatically.
| | 00:09 |
The first mode I'd like to show you is
Drum Rack mode.
| | 00:13 |
Push will switch to Drum Rack mode
whenever it detects an armed Midi track
| | 00:16 |
with a drum rack.
So let's load the Drum Rack preset.
| | 00:21 |
I'm going to to into Browse mode, scroll
down to Drum Rack, scroll down to Loop
| | 00:28 |
Masters, and let's load a preset called
Cold Cut.
| | 00:35 |
Hit the Load button.
(SOUND) In Drum Mode, the main 64 pads
| | 00:39 |
grid is divided to three sections.
The drum wreck pads, step sequence and
| | 00:46 |
controls, and loop length controls.
The Drum Rack pads let us play the
| | 00:53 |
samples in the drum rack in the same
order that appear on the screen.
| | 00:58 |
(SOUND) The drum rack pads just like the
drum rack device in Live is only showing
| | 01:05 |
16 pads at a time.
You can use the touch strip to scroll
| | 01:12 |
between pad banks, or alternatively, use
the Octave Up, Octave Down buttons.
| | 01:20 |
The Touch Strip also gives us indication
to which banks have samples on them.
| | 01:26 |
A pad slot with sample would be
highlighted in bright yellow, and an
| | 01:29 |
empty pad will be highlighted in dark
yellow.
| | 01:34 |
To load individual drums, click on the
device button, hit a pad, and select it
| | 01:41 |
using the selection controls, and then
hit the Browse button.
| | 01:50 |
While browsing, you can hit any pad to
load a new sound to that pad (MUSIC)
| | 01:54 |
allowing to quickly change into visual
sounds in the drum rack.
| | 02:00 |
For that pad, I'm going to load a
different hat, the less selected drum
| | 02:05 |
rack pad is highlighted in blue and can
now be sequenced using the step sequencer controls.
| | 02:14 |
I'm going to go down and select my click.
A step sequencer will basically give us a
| | 02:20 |
visual and physical interaction with our
midi clip inside Ableton Live.
| | 02:26 |
You can change the step sequence or
solution at any time using the grid
| | 02:30 |
select tool buttons to select.
I am going to hit the high heart sample
| | 02:36 |
and choose the eighth note grid.
When I turn on the entire first row, I
| | 02:41 |
have created one ball with high heads
played on the each note.
| | 02:46 |
Note, the sequencer doesn't stop at the
first ball and actually gives you four balls.
| | 02:52 |
Whenever you start a new pattern, or in
other words, create a new clip, Push will
| | 02:57 |
populate as many bars as it can to fit
into this four eight button rows.
| | 03:04 |
According to the selected grid
resolution, we got four bars.
| | 03:09 |
The loop length can be changed from the
loop length control section right here.
| | 03:14 |
You can make loops up to a maximum of 16
bars you can edit each individual bar by
| | 03:20 |
hitting the pad or selecting a loop
length by holding one pad and hitting the
| | 03:25 |
other like so.
This is two bounce, and this is four bounce.
| | 03:33 |
If we go into life (NOISE) and look at
the clip, we can see that it's 16 bounce,
| | 03:39 |
4 bounce and I can also edit individual
bounce.
| | 03:46 |
Let's go back to two bars.
Let's create a drum beat using the step sequencer.
| | 03:52 |
I create a two bar clip, but first I'll
change the master tempo using the
| | 03:55 |
dedicated knob.
(SOUND) And if you want to change it in
| | 03:59 |
small increments, you can hold Shift and
move the tempo knob.
| | 04:08 |
I'm going to delete the high hats.
Let's change it to 16 and start with a kick.
| | 04:13 |
(SOUND) Let's play some notes.
(SOUND) Let's hit play.
| | 04:21 |
(MUSIC) (INAUDIBLE) the snare.
| | 04:24 |
(MUSIC)
| | 04:28 |
And some hi-hats.
(MUSIC) Notice that you can add or remove
| | 04:39 |
multiple notes at once and therefore each
note division you also have its triplets
| | 04:43 |
division labeled with the note value and
a small t.
| | 04:49 |
In triplet grid, Push will color the last
two columns in red giving us only six
| | 04:54 |
pads on h, o, eighth note triplets, 16
note triplets.
| | 05:01 |
So the Push gives us complete control
over Drum Rack.
| | 05:05 |
And has the added functionality of step
sequencing just like the old school drum
| | 05:08 |
machines like the TR808 and the
(INAUDIBLE) drum.
| | 05:13 |
With the power of step sequencing in Drum
Rack mode, on the Push, you can make
| | 05:16 |
beats on the fly and you don't have to
play them live.
| | 05:21 |
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| Humanizing beats| 00:00 |
Using Drum mode, we aren't limited to
sequencing drums in a straight square
| | 00:04 |
manner, like old school drum machines.
But you can also easily humanize the
| | 00:09 |
individual notes or steps of your beats,
check it out.
| | 00:14 |
I'll load the drum rack, by going to
Browse, going to Drum Rack, and scrolling
| | 00:19 |
to Loopmasters.
I'm going to load a preset called Classic Records.
| | 00:26 |
Let's load preset, let's select the high
hat sound by pressing it once.
| | 00:34 |
(SOUND) Then, I'll change the grid
resolution to 16 and I'll press all eight
| | 00:39 |
buttons across the four rows to create a
simple 16 note high hat pattern over two bars.
| | 00:53 |
(MUSIC) Right now this pattern sounds
very straight, you can tell its sitting
| | 00:56 |
right on the musical grid.
Let me show you how to introduce some
| | 01:00 |
variation to these notes to humanize them
a bit.
| | 01:04 |
Push allows us to change the velocity,
which is the volume of each note, length
| | 01:09 |
of the note, with more fine tuning than
actual rhythm note values, and also notes
| | 01:14 |
position on the grid mean you can nudge
them left or right.
| | 01:21 |
Now, if you click and hold on one of the
pads, the display shows three options
| | 01:26 |
nudge, note length, and velocity.
If you still changing the velocity, you
| | 01:32 |
can see the shade of blue getting lighter
or darker.
| | 01:39 |
If you look at the clip in Live, while
changing the velocity, you can see change
| | 01:45 |
as well.
If you change it in Live, it will also
| | 01:51 |
change on the Push.
You can do the same for Note Length.
| | 02:00 |
Once again, this does not set the note
value by a determined good resolution,
| | 02:03 |
but rather allows you to do a small
adjustments to your notes duration.
| | 02:08 |
It's important to point out, that when
change in a note length this will not
| | 02:12 |
always change the sound, depending on the
sound's volume envelope.
| | 02:17 |
Which can be located under the device the
sample is playing from.
| | 02:21 |
By default, any audio file that you drop
on a Drum Rack, will be placed inside a
| | 02:25 |
simpler device.
In the simpler, you can change the volume
| | 02:31 |
envelope using the attack, decay,
sustain, and release parameters.
| | 02:37 |
You can nudge the note slightly off the
grid to create your own groove, and you
| | 02:41 |
can also select multiple notes at a time
and nudge them all together.
| | 02:50 |
So, let's create a more groovy high hat
pattern by adjusting velocities and
| | 02:54 |
nudging the notes slightly to create a
shuffled rhythm feeling.
| | 02:59 |
To save time, I'm going to hit and hold
four pads at a time, and adjust the
| | 03:07 |
velocity while I hold them.
(SOUND) If you want to change any of
| | 03:17 |
these parameters for every instance of
this pad's sound in your pattern, hold
| | 03:26 |
the Select button while pressing and
holding the Pad, and then you can let go
| | 03:34 |
of the Select button.
You'll see the same values on the display.
| | 03:45 |
This will also allow you to select the
pad without actually playing the sound,
| | 03:49 |
which is very useful feature for making
beats live on stage.
| | 03:53 |
You don't want your audience to hear you
messing around with your sounds.
| | 03:57 |
You just want to start sequencing them.
Finally, you can solo or mute pads by
| | 04:01 |
holding the Mute or Solo button.
(SOUND) And that's also solo.
| | 04:10 |
Soloed and muted pads will be highlighted
in dark blue when focused, and in orange
| | 04:15 |
when not focused.
You can also mute individual steps in
| | 04:20 |
your sequence, as well, by using the same
method.
| | 04:23 |
(SOUND) As you can all the see using the
step sequence in push is a great way to
| | 04:27 |
make beats on the fly, but it also give
you precision control without the need to
| | 04:32 |
touch your computer.
| | 04:36 |
| | Collapse this transcript |
| Recording drums in real time| 00:00 |
Creating drums with the Step Sequencer is
fun and intuitive.
| | 00:05 |
But you can always record your drum rack
elements, or just some of the elements of
| | 00:09 |
the drum rack in Real Time.
Note that I've said drum rack elements,
| | 00:14 |
and not just drum sounds.
Because you can load any type of sounds
| | 00:18 |
you want into the Drum Rack pads, and not
only drum sounds.
| | 00:23 |
I have a drum rack preset loaded, but
before I start recording, I'll turn on
| | 00:27 |
the metronome, by toggling on the
Metronome button.
| | 00:32 |
You can use the Tap Tempo button to set
the tempo by Feeling, or simply adjust
| | 00:37 |
the BPM, using the Tempo knob.
(MUSIC).
| | 00:45 |
To start recording hit the Record button
right here.
| | 00:50 |
See how the Play Head Marker turned red
instead of green indicating that you're recording.
| | 00:58 |
Notice that Live immediately starts
recording a new clip.
| | 01:01 |
If you want the count in, you need to go
to Live, and set the counting from the
| | 01:05 |
drop down menu, under the metronome.
(SOUND).
| | 01:09 |
Hit the New button to jump to an empty
clip slot, and hit the Record to start recording.
| | 01:18 |
When you're done recording you can hit
the Play button to stop recording or hit
| | 01:22 |
the Record button to stop looping to
overdub additional products.
| | 01:27 |
(SOUND).
Push pads are velocity sensitive, and
| | 01:32 |
sometimes especially when making an
electronic music, you might want your
| | 01:39 |
main rhythmical elements to hit hard
every time.
| | 01:47 |
To turn off the velocity sensitivity for
the pads toggle the Accent button.
| | 01:52 |
One cool thing is that you don't have to
record all the elements at once.
| | 01:56 |
You can record, let's say only the Kick
and Snare, and once you have them
| | 02:00 |
recorded, hit the Record button to loop.
Turn off the Accent and then hit the
| | 02:05 |
Record button again to overdub the high
hats.
| | 02:10 |
So let's hit the New, make sure the
Accent button is on, and let's record the
| | 02:14 |
kick and the snare.
I'm going to hit the Record button to
| | 02:18 |
start recording, and remember, that we
have a count in for one bar.
| | 02:22 |
(MUSIC).
| | 02:32 |
Turn off Accent, and I'm going to hit the
Record button again, to overdub.
| | 02:37 |
(MUSIC).
| | 02:50 |
You can go into Overdub mode at any time
on the selected clip by just hitting the
| | 02:54 |
Record button.
If you made a mistake you can hit the
| | 02:58 |
Undo button which will undo the last
thing you did.
| | 03:02 |
In our case, (SOUND) the high hats.
Note that Undo is not built into the
| | 03:08 |
Push, it's simply activating Live's undo
function.
| | 03:13 |
Hit the New button again, and Live will
give you a new empty clip slot.
| | 03:19 |
As you can see, it's very easy to come up
with multiple ideas quickly, overdub,
| | 03:23 |
build on them, and move to a new scene.
Continuing to create new musical patterns
| | 03:30 |
in real time.
You can focus on production and keep
| | 03:34 |
making music without the fear of losing
anything.
| | 03:37 |
With Push you can be irresponsibly
creative.
| | 03:42 |
One more thing, if you hit the Play
button to stop recording, Live will
| | 03:45 |
adjust the clip length to the nearest
note value that you have set in the
| | 03:49 |
global quantization.
So you don't have to worry about stopping
| | 03:54 |
your recording at the exact right moment.
So if the global quantization is set to
| | 04:00 |
one bar, which it is, by default.
Your clip will automatically adjust its
| | 04:05 |
length to the beginning of the nearest
bar.
| | 04:08 |
If it's set to an eighth note, it's going
to fix the clip length to the nearest
| | 04:11 |
eighth note.
Once again, Push is keeping our work
| | 04:16 |
focused on music making.
With push the current drums in Real Time
| | 04:21 |
can be a powerful composition technique,
while keeping your work flow flexible.
| | 04:26 |
| | Collapse this transcript |
| Recording a fixed-length clip and using Repeat mode| 00:00 |
If you know the length of the loop you
want to record, you can turn On Fix Length.
| | 00:05 |
If you hold the Fix Length button, the
Push screen will display the Loop Length option.
| | 00:10 |
Let's choose two bars.
Let's load the drum rack preset, by going
| | 00:15 |
to Browse, scrolling to Drum Rack, let's
scroll to the Loop Master pack.
| | 00:21 |
And then I'm going to choose a preset
called Grozhy, and load it.
| | 00:30 |
Now, when you hit the Record button, Live
will create the clip for you, and will
| | 00:34 |
automatically jump into Overdub mode.
So you don't have to worry about hitting
| | 00:39 |
Play, or Record again, to set the Loop
Length.
| | 00:43 |
And because you are already in Overdub
mode, you can record your elements one by
| | 00:47 |
one without hitting any other buttons,
except the Drum Rack pads.
| | 00:53 |
When you are ready to stop recording, hit
the Record button to turn off over
| | 00:57 |
dubbing or the Play button to simply
stop, so that check it out.
| | 01:03 |
going to turn on my metronome, make sure
my BPM is on the right BPM,126 is good
| | 01:07 |
and hit the Record button.
| | 01:11 |
(SOUND).
| | 01:13 |
Let's start with the snares, (MUSIC),
after recording a two bar fixed length
| | 01:25 |
loop, I can then hit the Double button to
duplicate the loop I just recorded.
| | 01:43 |
So I can then edit the duplicated two-bar
loop for rhythmical variation, adding
| | 01:48 |
notes, removing notes, nudging and
changing velocities.
| | 01:53 |
You can see that once you hit the
Duplicate button, the Loop Length section
| | 01:57 |
has four pads highlighted, instead of
two.
| | 02:01 |
Let's make some variations.
(MUSIC).
| | 02:04 |
On the push you can also use the Repeat
button to record notes.
| | 02:17 |
When the repeat button is on, the grid
selector sets the notes value for
| | 02:21 |
repetition, so you can jump between
different note value very quickly.
| | 02:27 |
Remember that the 64 pads on the Push are
velocity-sensitive and pressure-sensitive.
| | 02:34 |
So you can create interesting and dynamic
grooves using the Repeat button.
| | 02:39 |
Let's set the percussion pattern to our
Drums.
| | 02:42 |
Note that if the Accent button is on, you
won't be able to use the
| | 02:45 |
pressure-sensitivity feature.
| | 02:48 |
(SOUND).
| | 02:53 |
Let's hit the Record button.
(MUSIC).
| | 03:13 |
Fixed lengths and repeat function are
very useful features in the Push, and can
| | 03:18 |
help you create beats, bass lines,
melodies, and harmonies very easily.
| | 03:24 |
Using Real Time recording, in conjunction
with step sequencing, can result in a
| | 03:28 |
very enjoyable, quick and efficient way
of making musical patterns.
| | 03:33 |
| | Collapse this transcript |
| Adding swing and fixing human timing errors| 00:00 |
Any time we're recording drums, we don't
always keep perfect time.
| | 00:05 |
To fix this, you can use the Quantize
button.
| | 00:08 |
Hold down the Quantize button and you
will see the Quantize settings.
| | 00:12 |
You can choose the nearest value that you
would like the notes to be quantized to
| | 00:16 |
and how much quantization you would like
to apply.
| | 00:20 |
Set to 100%, the notes will be fully
quantized and will lose any natural
| | 00:24 |
groove you might have while recording.
If you want to retain your natural
| | 00:31 |
groove, try to quantize in smaller
amounts.
| | 00:35 |
I have a drum rack preset loaded.
I'm going to record an eighth note pattern.
| | 00:41 |
Notice that the Fixed Length button is
on.
| | 00:44 |
For more on this button, check out the
movie where I show all about the Fixed Length.
| | 00:49 |
I'm going to set the quantization to
eighth note and hit Quantize after I record.
| | 00:54 |
And you can the notes are aligned in the
step sequencer.
| | 00:58 |
As well as inside Live MIDI clip, so
let's check it out.
| | 01:07 |
(SOUND).
Lets hold the Quantize, change the
| | 01:13 |
Quantize to 8, I'm going to do 100%, and
now, we're going to hit Quantize.
| | 01:25 |
Nice.
You can also add swing to your note after
| | 01:29 |
you recorded them, by going back to the
Quantization settings, and turning up the
| | 01:34 |
swing amount.
Now, after you hit Quantize you'll hear
| | 01:40 |
our notes swing.
(MUSIC).
| | 01:43 |
When using the Repeat button, you can
also add the Swing to the repeat with the
| | 01:53 |
swing knob.
I'm going to turn on Repeat.
| | 02:01 |
(MUSIC) Hold the hi-hats, and now, we can
adjust the Swing with no swing and add
| | 02:05 |
some more swing.
(MUSIC) I have a drum pattern that I've
| | 02:11 |
made with four drum elements.
Let me launch it.
| | 02:24 |
(MUSIC) When you are dealing with
multiple drum elements, you can quantize
| | 02:28 |
or swing only one element at a time, by
holding the Quantize button and then
| | 02:31 |
hitting the desired pad.
I'm going to set up the Swing Amount,
| | 02:37 |
let's bring it to 16, and turn down the
Quantize Amount.
| | 02:43 |
Still keep holding the Quantize and then
hit the hi-hats.
| | 02:48 |
In Live, we can see only the hi-hats
move, and the rest of the elements remain
| | 02:53 |
in the same place.
If you want to record live drums and
| | 02:58 |
always keep on time, you can turn on a
Record Quantization from the Quantization Settings.
| | 03:05 |
Hold down Quantize button and turn on the
Record Quantization.
| | 03:09 |
This will apply the set quantization
value immediately after you record your notes.
| | 03:15 |
So let's hit the New button, turn on the
Metronome, and hit the Record.
| | 03:26 |
(SOUND) So we can see that our draw
wasn't on time.
| | 03:32 |
The push corrected me because of the
Record Quantization.
| | 03:38 |
So as you can see, the Quantize button is
a great way to correct your human timing errors.
| | 03:44 |
Turn on the Chord Quantization to keep
you in time while recording Live and even
| | 03:48 |
add in swing to your patterns.
| | 03:51 |
| | Collapse this transcript |
| Understanding notes and scales| 00:01 |
Music theory is the language that allows
us to understand and communicate music
| | 00:04 |
with one another.
In the movie about counting music, I
| | 00:09 |
discuss rhythm, which is the element of
timing spacing, pace, and groove of music.
| | 00:16 |
Now I'd like to discuss another essential
element in music, pitch.
| | 00:20 |
In Live, I have a piano sound loaded up.
On the piano, you can find the following
| | 00:29 |
notes on all of the white keys.
(SOUND) C, D, E, F, G, A, B.
| | 00:38 |
These notes make up the C major scale.
When you look at a musical keyboard, you
| | 00:46 |
can see these notes repeating over and
over again.
| | 00:50 |
Each time you finish a cycle of these
seven notes, you've played an octave.
| | 00:55 |
For example, C3, which is the third C on
the keyboard, sometimes called middle C,
| | 01:05 |
up to C4, the next C above middle C on
the keyboard, is an octave.
| | 01:17 |
(SOUND) And back to C.
Now, let's take a look at how this
| | 01:21 |
applies to Push.
Remember the Push is a smart instrument.
| | 01:26 |
It will detect what type of device you
are focused on.
| | 01:30 |
If it's a drum act, the Push will display
drum mode, and if it's an instrument, it
| | 01:35 |
will display, the key mode.
In key mode the Push will present us with
| | 01:41 |
an isomorphic keyboard which is a two
dimensional grid designed in such a way
| | 01:45 |
that every note you play will be within a
predetermined musical scale.
| | 01:53 |
This can allow you to play different
notes, scales, intervals and chords with
| | 01:59 |
similar hand position so you only need to
remember shapes instead of specific notes
| | 02:05 |
as you would on a traditional keyboard.
(SOUND) Now what is a scale?
| | 02:13 |
A scale is a collection of 5 or more
notes that have a certain musical relationship.
| | 02:19 |
Whole steps or half steps between each of
the notes.
| | 02:23 |
This relationship give a scale its unique
feel and mood.
| | 02:27 |
By default, Push is set to the C major
scale.
| | 02:32 |
The dark blue pads indicate the root note
of the scale, which in this case is the C
| | 02:36 |
note, in different octaves.
| | 02:39 |
(SOUND).
| | 02:43 |
I can play the scale like this.
| | 02:45 |
(SOUND).
| | 02:50 |
Or like this.
| | 02:51 |
(SOUND).
| | 02:55 |
Or even like this.
| | 02:56 |
(SOUND).
| | 03:00 |
So there's a lot of ways to play the same
scale on the Push.
| | 03:05 |
There are a few repeating notes within
neighboring scale and ranges.
| | 03:10 |
And Push will light up the same played
notes in green.
| | 03:13 |
(SOUND) You can use the octave up, an
octave down button to switch octaves
| | 03:21 |
until you reach the upper and lower
limits of the instrument.
| | 03:31 |
(SOUND) On the piano, in between the
white keys, you can find the black keys.
| | 03:43 |
These keys have the same note names as
the white keys, but with the addition of
| | 03:48 |
flat or sharp.
If you go up from the note, you call it a sharp.
| | 03:54 |
(SOUND).
| | 03:57 |
And if you go down, it's called a flat.
So in different situations, the same
| | 04:05 |
black key will actually have two
potential names.
| | 04:09 |
C-sharp.
Might be named, as D flat.
| | 04:14 |
Or another example, A flat might be G
sharp, depending on the context in which
| | 04:19 |
you played the notes.
On the Push, you can switch to a
| | 04:25 |
chromatic keyboard.
Let's hit the scales button.
| | 04:30 |
Here we see end key.
And I'm going to hit the state control to
| | 04:33 |
switch it to chromatic.
Which will give you all the notes on the
| | 04:38 |
piano, including sharps and flats.
But the Push will still highlight the
| | 04:43 |
notes within the selected scale.
(SOUND) This is handy especially for
| | 04:49 |
compositions that follow most of the
rules of the western scales.
| | 05:00 |
But, rules are sometimes meant to be
broken, and if your composition needs
| | 05:04 |
some notes outside of your pre-selected
scale, this might be the way to go for
| | 05:08 |
that song.
I showed you the notes names and how to
| | 05:14 |
play the C major scale on the piano and
on the Push.
| | 05:19 |
In the next video let's take a deeper
look at scales, intervals and how to
| | 05:23 |
build chords.
| | 05:25 |
| | Collapse this transcript |
| Understanding intervals and chords| 00:00 |
In music theory we measure the distances
or interval between the note by tones.
| | 00:06 |
Semi tone and whole tones.
You'll sometimes hear me refer to semi
| | 00:10 |
tones as half steps and whole tones as
whole steps.
| | 00:14 |
This is common in musical discussion.
So to move from C to C sharp, you go up a semi-tone.
| | 00:24 |
But if you go from C to D, you go up a
whole tone.
| | 00:31 |
So how much do you go from E to F, and
from B to C?
| | 00:37 |
Only a semitone or a half step, because
we don't have any keys in between.
| | 00:42 |
Just for clarification on this point,
going from one key to the very next key
| | 00:47 |
on the keyboard is always a semitone,
whether the keys are black or white, and
| | 00:52 |
skipping a key also makes a whole tone.
So, if I go from C (SOUND) to D, (SOUND)
| | 01:00 |
that's whole tone.
C (SOUND) to D-sharp, (SOUND) that's a
| | 01:06 |
tone and a half.
C (SOUND) to E, (SOUND) that's two tones.
| | 01:12 |
Now let's build the scale.
If you follow a formula of steps from any
| | 01:16 |
given starting note, you can build any
type of scale.
| | 01:21 |
For example, you can build the major
scale by starting from C and going whole
| | 01:25 |
step, whole step, half step, whole step,
whole step, whole step, half step.
| | 01:33 |
So let's just check it out.
Starting from C (MUSIC), going whole step
| | 01:38 |
(MUSIC), whole step, (MUSIC) half step
(MUSIC), whole step (MUSIC), whole step
| | 01:45 |
(MUSIC), whole step (MUSIC) and half step
back to C.
| | 01:51 |
(MUSIC) (SOUND) For another example, to
build a natural minor scale starting from
| | 01:56 |
C, the formula is, whole step, half step,
whole step, whole step, half step, whole
| | 02:02 |
step, whole step.
(SOUND) Starting from C, whole step, half
| | 02:09 |
step, whole step, whole step, half step
(SOUND), whole step, (SOUND) whole step,
| | 02:16 |
(SOUND) whole step.
(MUSIC) Since you are only following a
| | 02:22 |
formula of steps, you can start from any
note and build its minor or major scale,
| | 02:27 |
like G major.
(SOUND) Whole, (SOUND) whole, (SOUND)
| | 02:31 |
whole, (SOUND) half.
(MUSIC) Whole, whole, whole, half.
| | 02:40 |
(MUSIC) Or D minor.
(MUSIC) Whole, half, whole, whole, half,
| | 02:49 |
whole, whole.
(MUSIC) (SOUND) On the Push, you can
| | 02:56 |
change scales or keys by clicking the
Scales button.
| | 03:01 |
The display will change to show all the
keys and available scales.
| | 03:06 |
So let's check out G major.
(SOUND) Or D.
| | 03:16 |
Minor/g (MUSIC) played the exact same
way.
| | 03:22 |
The push plays the whole and half steps
intervals for the scales automatically.
| | 03:28 |
Now let's talk more about intervals.
The distances between the notes can be
| | 03:33 |
called by names.
For example, C to G, that's a fifth, and
| | 03:38 |
C to C, that's an octave.
So if you know the names of the distances
| | 03:45 |
or of the intervals between the notes you
can start building chords.
| | 03:51 |
If you take for example D add its major
third.
| | 03:55 |
(SOUND) And the fifth, (SOUND) that's D
major chord.
| | 04:01 |
Same thing with C major.
(SOUND) Major third, (SOUND) and fifth,
| | 04:07 |
(SOUND) that's the C major.
On the Push, let's look at the notes.
| | 04:14 |
Let's switch back to c major and we'll
play the scale.
| | 04:18 |
C, D, E, F, G, A, B, C.
So if we want to build a c major chord
| | 04:28 |
we're going to play the c, e (MUSIC) And
with G and this is also G so I'm just
| | 04:33 |
going to play a triangle shape.
(MUSIC) Now if I want to play a C Minor,
| | 04:42 |
(SOUND) I'm going to switch to Minor,
play the same shape (SOUND) and get the
| | 04:48 |
minor chord (SOUND) which will play the
same exact way.
| | 04:58 |
Now, each type of scale has its own
diatonic chords, which are the chords
| | 05:01 |
that appear naturally from within the
scale.
| | 05:06 |
On the Push, if you play the same shape
as the C major chord, but in a different
| | 05:10 |
location on the grid, you might get
different types of the chords, like D
| | 05:14 |
minor, or B diminished.
But they will all be diatomic to the C
| | 05:21 |
major scale.
Meaning the chords will fit into the
| | 05:25 |
scale according to the music theory
rules.
| | 05:28 |
So you can start making chord
progressions very easily.
| | 05:32 |
Let's switch back to C major.
I'm going to play the C major chord.
| | 05:36 |
(MUSIC) I'm going to keep the same shape.
And move forward.
| | 05:40 |
We get D minor, E minor, F major, G
major, A minor, B diminished, and back to C.
| | 05:52 |
(MUSIC) So for example, a very famous and
popular chord progression is the one,
| | 05:57 |
four, five.
And because if we go up, we go in
| | 06:01 |
fourths, It's very easy to play one,
four, five.
| | 06:06 |
One, (SOUND), go up, same shape, four
(SOUND), five.
| | 06:14 |
(SOUND) Back to one.
Now by default, the position of the LEDs
| | 06:20 |
won't move according to the selected key.
So if I'm on C the blue ones which are
| | 06:26 |
the root notes will be C (SOUND).
I'm on G.
| | 06:31 |
G (SOUND) G (SOUND) and so on.
If you turn on fixed, the notes will
| | 06:39 |
remain at the same place.
So, C will always be C (SOUND) unless
| | 06:44 |
it's not in this scale for example, D
major, only have C sharp, so the C will
| | 06:51 |
move to the closest note which is C
sharp.
| | 06:58 |
Ready fold is turned off.
In keyboard mode the dots sleep functions
| | 07:03 |
as pitch bend.
(SOUND) Remember that the pitch bend
| | 07:07 |
range depends on your instruments
settings.
| | 07:12 |
We can also plug in a sustain pedal that
you can find on acoustic pianos.
| | 07:18 |
Just plug it in in the back.
(SOUND).
| | 07:24 |
Put it on the floor.
And now you can sustain your notes or
| | 07:33 |
chords (MUSIC).
(MUSIC) Lastly, holding shift while
| | 07:40 |
displaying the scales will access
additional layered featured.
| | 07:45 |
So, for example, by default, it goes up
by fourths (MUSIC).
| | 07:48 |
We can go to the side fourths, (MUSIC)
and we also have other options, like
| | 07:55 |
thirds and sequentials.
As you can see, in Key mode, the Push
| | 08:02 |
allows you to compose melodies,
harmonies, chord progressions, and even
| | 08:06 |
bass lines without any prior music theory
knowledge.
| | 08:11 |
But knowing what we talked about,
intervals and chords and scales, will
| | 08:15 |
help you understand how the Push work and
collaborate with other musicians.
| | 08:20 |
| | Collapse this transcript |
|
|
3. Controlling Ableton LiveControlling the mixer| 00:00 |
Push is not only a composition tool.
But it's also a mixing tool.
| | 00:05 |
I'd like to show you how to control
Live's mixer using the encoders and the
| | 00:09 |
display section.
I have 9 tracks loaded up with different sounds.
| | 00:17 |
First, I'll focus on the display section.
All these different buttons will change
| | 00:21 |
the display view.
Let's start with the volume display.
| | 00:25 |
This will display the tracks volume and
label.
| | 00:28 |
You can change the volume from the top
encoders.
| | 00:32 |
If you have more that 8 tracks in your
live set you can switch to the Session
| | 00:35 |
mode using the Session button.
And use the left and right navigation
| | 00:40 |
buttons to change the focus of the push.
So basically you can have as many tracks
| | 00:46 |
as you want and still have full control
over your set.
| | 00:51 |
See the colored square in your session
view live for indication of where you are.
| | 00:57 |
Now, let's look at the pan and send
button.
| | 01:01 |
This button will switch the display to
show all the panning for all the tracks
| | 01:05 |
in the our live set.
Just like you did with the volume, you
| | 01:09 |
can change the top encoders to change the
panning of each track.
| | 01:15 |
The panning display changes to send A
Once you hit it again, and with each
| | 01:19 |
additional button press, the display and
controls will control to the next send value.
| | 01:26 |
(SOUND) Notice that you only see the
sends that correspond to your return tracks.
| | 01:33 |
So if you have two return tracks, you
only see send A.
| | 01:38 |
And send B.
If you want to control the track volume,
| | 01:44 |
the pan, and sense at the same time, you
can use the track display.
| | 01:52 |
The display will change to show the
select a track parameters, and you can
| | 01:55 |
change them using the top encoders.
Use the selection controls, to quickly
| | 02:01 |
switch between different tracks.
I'm going to adjust all the volumes and
| | 02:05 |
all the pannings of our tracks to get a
balanced mix.
| | 02:09 |
I'm going to hit the Play button, switch
to the volume display.
| | 02:15 |
Navigate all the way to the left, and
start adding the kick and snare.
| | 02:19 |
(MUSIC) I don't want to add too much
volume, because we have a lot of elements
| | 02:23 |
we can mix together, and we don't want to
get the master track peaking.
| | 02:31 |
Let's add the hat.
Some percussion, some bass, little vox, pads
| | 02:46 |
(MUSIC)
| | 02:48 |
mid-sound.
And turn on the vocals.
| | 03:06 |
Let's just adjust the panning, for the
hats, and percussion.
| | 03:12 |
(MUSIC) Shake here.
I am going to leave the base in the middle.
| | 03:15 |
(MUSIC).
| | 03:21 |
And we can also use this encoder to
change the master volume.
| | 03:24 |
And note that, on touch encoder to see
the master volume becuase they all touch encoders.
| | 03:34 |
(MUSIC) The quickly toggle one of the
display modes, press and hold the Display control.
| | 03:40 |
Once you release, it will return to the
previous selected display mode.
| | 03:44 |
So if you're adjusting pan, but quickly
want to adjust the volume of one of the
| | 03:48 |
tracks, you can press and hold the volume
control.
| | 03:53 |
And once you release it, it will revert
back to descend and pan.
| | 04:00 |
If you look at the state controls, you
can switch the controls from mute (SOUND)
| | 04:07 |
to stop clips, to solo.
(SOUND) To sort on multiple tracks hold
| | 04:14 |
one and select the rest.
If you want to delete tracks press and
| | 04:22 |
hold the Delete button and hit one of the
Track Selection Controls.
| | 04:27 |
Lets say the Shaker.
| | 04:29 |
(SOUND).
| | 04:33 |
To jump to the master track, simply hit
the master button.
| | 04:38 |
In addition to being a great song and
writing composition tool.
| | 04:42 |
Push is also a highly capable mixing and
mastering tool.
| | 04:46 |
With hands on control and visual
feedback.
| | 04:49 |
| | Collapse this transcript |
| Controlling Live devices| 00:00 |
With everton push its very easy to
control every parameter of a live device.
| | 00:05 |
If it's an instrument media effect or
audio effect push can control it.
| | 00:11 |
I've loaded up an auto filter effect on
the lead track.
| | 00:16 |
Click the device button to change the
display to show all of the devices on the
| | 00:20 |
currently focused track.
Right now we only have the auto filter.
| | 00:25 |
You can select the device you want to
edit using the selection controls.
| | 00:29 |
And you can turn on and off the device
using the state control.
| | 00:35 |
The display we show us, key parameters
from within the device.
| | 00:38 |
You probably noticed the push only
displaying eight parameters.
| | 00:43 |
And most devices have much more than
eight.
| | 00:47 |
To see all the parameters, hit the in
button.
| | 00:50 |
To go back, hit the out button.
Once you hit the in button, the selection
| | 00:56 |
controls will allow to change between the
different sections of the device.
| | 01:02 |
In our case, you can see the filter,
filter extra and side chain categories.
| | 01:10 |
Let's load another effect, the cause of
the phaser audio effect preset to the vocals.
| | 01:16 |
So first I'm going to go to volume.
I'm going to navigate to my vocals.
| | 01:22 |
Hit the add effect.
Navigate to audio effect track.
| | 01:28 |
Modulation and rhythm and load the course
oval phrasal with the load button.
| | 01:36 |
Exit browse mode, and now if we hit
device, we can see, we have it loaded up
| | 01:40 |
in a vocal track.
If you're using Rex with parent chains,
| | 01:47 |
you can navigate to the different chains
in a similar manner.
| | 01:52 |
If you're using Rex, chances are you are
also using microcontrols.
| | 01:57 |
Note that is a microcontrol is mapped to
a parameter, that parameter cannot be
| | 02:01 |
changed from a device, but only from the
microcontrols.
| | 02:06 |
So if we look at the device we just
loaded, we have all the micro controls,
| | 02:10 |
and if we hit the in button we can see
the different pattern chains.
| | 02:15 |
When I hit them, we can also see the
focus in live change.
| | 02:21 |
To delete devices hold the delete button
and select a device.
| | 02:26 |
Let's go out.
Hold the Delete, and hit the device.
| | 02:33 |
Feel free to add as many audio and media
effects as you'd like.
| | 02:37 |
Remember that on audio tracks, you can
only add audio effects.
| | 02:42 |
The device display on the push is useful
not only for pushing and mixing, but also
| | 02:46 |
for live performance.
Every time you are focusing on a
| | 02:51 |
different track, the device display will
change to represent the devices that are
| | 02:55 |
on that track.
If you want to lock the push to a single
| | 03:00 |
device, right-click on the device.
Of other tracks while still maintaining
| | 03:27 |
control over your master effect.
Let me show you an example.
| | 03:31 |
I'm going to first unlock the auto
filter.
| | 03:35 |
Now let's go to our master track.
I'm going to add effect.
| | 03:39 |
Navigate to audio effect rack.
Let's go to performance I'm deejaying.
| | 03:46 |
And I'm going to load deejay master
channel.
| | 03:49 |
Now, in Live, I'm going to right click on
the device, and lock the control surface.
| | 03:58 |
Once I go to device, we can see all the
microcontrols in our deejay master
| | 04:02 |
channel, audio effect rack.
And if I navigate to other tracks, even
| | 04:08 |
though they have effects on them I'm
still focusing, or locked, on my audio
| | 04:13 |
effect track, in a master track.
So, it doesn't matter how complicated
| | 04:19 |
your device and reacts are, you can
control all of them with push.
| | 04:24 |
| | Collapse this transcript |
| Adjusting loops using Clip mode| 00:01 |
As you may know, we cannot produce music
in Live without clips.
| | 00:05 |
If audio and midi clips are not yet
familiar to you, you may not want to
| | 00:09 |
check out Up and Running with Ableton
Live 9, or Ableton Live 9 Essential
| | 00:13 |
Training on Lynda.com.
In order to edit, create, and view your
| | 00:19 |
clips from the push, you have to enter
Clip Mode.
| | 00:24 |
I have an audio clip and a midi clip
loaded up in Live.
| | 00:28 |
So let's take a look at the clip mode.
I'm going to hit clip.
| | 00:32 |
And a display will update.
With midi clips, you can turn loop on and off.
| | 00:39 |
Right here.
When loop is off, you can change the clip
| | 00:43 |
start, clip position, and clip end.
When the loop is on, you can change the
| | 00:50 |
loop start, loop position, and loop end.
So, for example, I have an eight bar
| | 00:56 |
musical phrase I made with the piano.
(MUSIC) Now if I change the loop start,
| | 01:04 |
we can see that the loop that I get is
only looping the last two bars, seven and eight.
| | 01:13 |
(MUSIC) If the loop is turned off on the
push, we can also change the clip length
| | 01:22 |
or the starting marker, and the end
marker.
| | 01:34 |
If I have the starting marker and end
marker only on one bar, I can also use
| | 01:37 |
the position to move around between
different bars, as well as when the loop
| | 01:41 |
is on.
But then it will control the loop
| | 01:45 |
bracket, which is the top one.
So, for example, if you're recording a
| | 01:51 |
midi clip in real time without using
fixed length, and stop recording by
| | 01:54 |
hitting the Record button too late.
You can quickly jump to your clip view
| | 01:59 |
and fix the clip length.
Right now it's on five, I'll change it to four.
| | 02:05 |
Much more straight.
With audio clips you can control the loop
| | 02:10 |
start, position, and loop length when the
loop is on.
| | 02:17 |
And clip start, clip position and clip
end when the loop is off.
| | 02:22 |
Additionally, you can also change the
work mode, detune, change the
| | 02:26 |
transposition, and change the clip gain.
For example, I have a dumb and base loop.
| | 02:37 |
Loaded up here I'm going to change bpm
accordingly, around 170.
| | 02:43 |
I am going to play the clip right now
it's muted so I'm going to go to volume
| | 02:49 |
and make sure it's not muted.
Go back to clip and now we can change the
| | 02:57 |
Loop to turn it on.
Let's launch it.
| | 03:02 |
(MUSIC) And I'm going to change the Loop
Style to loop a very small section.
| | 03:07 |
I'm going to hold Shift while just a loop
to give me even smaller increments.
| | 03:14 |
And then I can use the position.
(MUSIC).
| | 03:19 |
To jump and score between different
section of the loop.
| | 03:26 |
(MUSIC).
In conjunction with the transpose,
| | 03:42 |
(MUSIC).
| | 03:45 |
(MUSIC) Under the parameters, you can see
the clip selection, which will be labeled
| | 04:03 |
with the clip name.
So, if I change the name in Ableton, I'm
| | 04:14 |
going to click on the clip, and hit Cmd
or Ctrl+R, and then change it to D and B,
| | 04:19 |
or Drum and Base, Loop.
And we can see instantly Push is changing
| | 04:26 |
the clip selection label as well.
In clip mode you can also focus on the
| | 04:31 |
clips from Live and Push we change its
display according.
| | 04:36 |
So right now we're focused on the audio
clip, and if I hit the midi clip the
| | 04:40 |
display updates.
As you can see, clip mode is very
| | 04:45 |
straightforward and gives you all the
basic information and control over audio
| | 04:49 |
clips and movie clips.
| | 04:52 |
| | Collapse this transcript |
| Recording session automation| 00:01 |
One of the newest feature in Amateur Live
9, is the ability to record real-time
| | 00:04 |
automation's in the session view.
Automation is the automatic change of
| | 00:10 |
parameters values over time.
For example, raising or lowering the
| | 00:15 |
frequency cutoff of a filter effect over
several bars of music, or even just
| | 00:19 |
adjusting volume and panning over time.
To start recording automation, make sure
| | 00:26 |
the Automation button is turned on, then
hit the Record button to start recording
| | 00:30 |
or over-dubbing any existing automation.
Note that in Live's preferences, you can
| | 00:37 |
select between recording automation to
only the currently armed track, or all tracks.
| | 00:43 |
Let me show you.
I go to Live>Preferences.
| | 00:47 |
(SOUND) If you run the Windows, it's
going to be under Options, and under the
| | 00:51 |
Record Warp Launch, you'll see, Record
Session automation in, Arm Tracks, or All Tracks.
| | 00:59 |
Let's keep it on Arm Tracks.
Let's link our automation to the auto
| | 01:07 |
filter on the pads track.
I'll make sure I'm on Device, make sure
| | 01:14 |
the automation is on, (SOUND) and hit the
Record.
| | 01:21 |
(MUSIC) (SOUND) We can also see in Live,
that in the clip envelope it shows the
| | 01:29 |
automation that we just recorded.
Now that I've recorded automation, you
| | 01:39 |
can see in Live that the parameter now
has a red dot next to it, indicating it
| | 01:42 |
has automation.
I'm going to switch to the device view
| | 01:47 |
using shift+tab.
And we can see the red dot on the filter
| | 01:50 |
frequency cut off.
If you right-click on the automated
| | 01:55 |
parameter and choose show automation,
live will switch to the clip envelope.
| | 02:00 |
(NOISE).
I am going to switch back again using
| | 02:03 |
Shift and Tab.
If you change the automated parameter,
| | 02:09 |
after you have recorded the automation,
the red dot will grey out, meaning the
| | 02:13 |
parameter will now ignore the automation.
(MUSIC) And nothing happens.
| | 02:21 |
You will need to re-enable automation
using the button with the left arrow symbol.
| | 02:29 |
To re-enable automation from the Push,
hold Shift and hit the Automation button.
| | 02:37 |
If you want to delete automation for a
specific parameter, you can press and
| | 02:41 |
hold the Delete button, and touch the
corresponding knob.
| | 02:45 |
Make sure that you are focused on the
device with the corresponding automation.
| | 02:50 |
So lets switch to the clip envelope.
I'm going to hold the Delete, and just
| | 02:57 |
touch the frequency knob.
It is very important to note that in Live
| | 03:04 |
8 you also had clip envelopes, but those
were modulations rather than automations.
| | 03:11 |
You still have them in Live 9, but those
for this feature you need to use clip automation's.
| | 03:18 |
To switch between them in Live,
right-click anywhere in the envelope view
| | 03:21 |
(NOISE) and choose Show Modulation.
And that switch back to show automation
| | 03:27 |
(NOISE).
All the clip automation's that you will
| | 03:32 |
record are attached to the clip.
So if and when you are ready to start
| | 03:36 |
working in arrangement view, the
automation will move accordingly.
| | 03:42 |
Let me Undo to go back.
So now we have the automation again.
| | 03:46 |
I am going to click and hold on the clip,
hit Tab to move it to the arrangement
| | 03:50 |
view, and we can see the automation moved
with it.
| | 03:55 |
Automation is an essential part of model
music, especially electronic music.
| | 04:01 |
And now, in Ableton Live 9, we can make
automation in the session view, and using
| | 04:05 |
the Push, it's easier to create and edit
automation in a little time.
| | 04:10 |
| | Collapse this transcript |
| Using the Session mode| 00:01 |
I'd like to make a distinction between
Note mode and Session mode.
| | 00:05 |
Note mode has the isomorphic keyboard to
play instruments and the drum rack to
| | 00:09 |
record and step-sequence drums.
The note mode is used to create music,
| | 00:15 |
but once you've created some music, you
can switch over to session mode Which
| | 00:19 |
will give you complete control over
Live's session view.
| | 00:26 |
Since Push has RGB LEDs on each one of
the 64 main pads, you will see an exact
| | 00:31 |
visual representation of what's happening
in our project.
| | 00:37 |
If I change the clip color from Live, it
will immediately change on the Push.
| | 00:41 |
So, I'm going to go to my kick snare
track, right click on the clip, and
| | 00:47 |
change it to, let's say, (SOUND) yellow,
or, (SOUND) dark blue.
| | 00:54 |
To launch a clip, simply press it.
(MUSIC) To stop clips, you can hit an
| | 00:59 |
empty clip slot on the same track, or
change the top state controls to stop.
| | 01:07 |
So if I launch it (MUSIC) I can simply
hit any one of the empty clip slots.
| | 01:12 |
Or (MUSIC) change the state control to
stop.
| | 01:16 |
But first, we need to be focused on any
one of the display modes.
| | 01:20 |
Track, volume, pan and send, or clip.
Change the state control to stop, and we
| | 01:25 |
can stop the clip.
You can hold the Select button while
| | 01:30 |
hitting a pad to only focus on it without
launching a clip.
| | 01:38 |
(SOUND) And if the clip is already
launched, the display will show the
| | 01:41 |
remaining time until the clip ends, or
loops.
| | 01:44 |
(MUSIC) Hold Select, and hit the pad, and
we can see the time remaining.
| | 01:54 |
Remember that everything that you do with
clips in session mode will be quantized
| | 01:58 |
according to the global quantization that
you set in live.
| | 02:03 |
By default its set to 1 bar.
We can change that from the global quantization.
| | 02:10 |
(SOUND) So if I launch the clip, (MUSIC)
one, two, three, four, one, two, three,
| | 02:14 |
four, it will only stop at the next
musical bar.
| | 02:20 |
You can delete clips by holding the
delete button while hitting the desired
| | 02:24 |
clips to be erased.
(SOUND) You can duplicate clips by
| | 02:28 |
holding the Duplicate button and hitting
the clip.
| | 02:33 |
(SOUND) Remember you can always undo
using the Undo button or you can redo by
| | 02:39 |
holding Shift and hitting the Undo
button.
| | 02:47 |
To launch an entire scene, which is a row
of clips, use the scene or grid buttons.
| | 02:54 |
You can also hold shift, while hitting a
scene, to only select it.
| | 03:00 |
So if I hit a scene, (MUSIC) we launch
the entire row of clips.
| | 03:08 |
When a track is armed, it will color all
the empty clip slots in red, allowing us
| | 03:11 |
to start recording clips from the Session
mode.
| | 03:16 |
So, I'm going to select the bass track
using the selection control, and hit it
| | 03:20 |
again to arm it.
We can see all the empty clip slots
| | 03:25 |
colored with red.
Although clips can be created in the note
| | 03:30 |
mode, this is very useful for recording
audio clips like guitars and vocals.
| | 03:37 |
To stop all clips hold shift and press
the stop button.
| | 03:43 |
You can also mute and solo select the
tracks by switching to the corresponding
| | 03:47 |
state controls.
Mute.
| | 03:50 |
And if we look at live, I can also solo
the kick snare.
| | 03:55 |
(SOUND) You probably already noticed that
in live, there is a colored square
| | 04:00 |
surrounding the session view.
This indicates the currently eight by
| | 04:06 |
eight grid that the Push is focused on.
You can use the navigation controls to
| | 04:11 |
move around in a live set, allowing us to
potentially build an endless set.
| | 04:20 |
To deal with very loud sets, you can hold
the the Shift button, which is switch the
| | 04:24 |
main pads to Session Overview.
In session overview each pad represents
| | 04:31 |
an 8 by 8 block of clips aligned you to
have control over very loud sets ,in the
| | 04:36 |
session overview color coding is so
emerald currently selected block of clips
| | 04:42 |
,green there are clips plain in that
block of clips but we need to lift the
| | 04:47 |
focus Play a clip.
(MUSIC) And now we see the green.
| | 04:57 |
(MUSIC) Let's stop the clip, hold shift,
hit the Stop button.
| | 05:05 |
And now we see the red, which mean no
clips are playing in that block of clips,
| | 05:10 |
or no colors, which means there are no
tracks or scenes in that range.
| | 05:18 |
The session mode gives you full control
over your live set.
| | 05:22 |
You can experiment with different global
quantization values, or even change
| | 05:26 |
quantization values for individual clips,
as well as experimenting with follow
| | 05:30 |
actions, for even more control.
If you want to further explore using
| | 05:36 |
clips in the session view and concepts
like global quantization or follow
| | 05:40 |
actions check out Ableton Live for live
performance on linda.com.
| | 05:46 |
In production in live performance
situations you can always quickly switch
| | 05:51 |
between Note mode and Session mode to
play instruments, make beats and control
| | 05:55 |
your live set all in this one instrument.
| | 06:00 |
| | Collapse this transcript |
| Using Push as a generic MIDI controller| 00:01 |
In addition to all of its regular
functionality in controlling live, the
| | 00:04 |
push can also be used as a regular media
controller.
| | 00:08 |
Hit the user button, and the push will
switch to user mode, where you can
| | 00:12 |
manually map every pad, button, knob, and
touch strip to control everything live.
| | 00:20 |
Or any other software, for that matter.
You can use this mode to do custom MIDI
| | 00:25 |
mapping, using Live's MIDI Map mode.
To map the user mode in Live, first make
| | 00:31 |
sure that everything is set up correctly
under the MIDI Sync tab in Live Preferences.
| | 00:38 |
So, in Live, I'm going to go to Live>
Preferences.
| | 00:43 |
If you open Windows, it's going to be
under Options.
| | 00:46 |
I'm going to go to the MIDI-sync tab and
just make sure that under input and
| | 00:51 |
output of the Ableton Push user port, the
track and remote are set to On.
| | 00:58 |
Let's close this.
The user mode doubles the functionality
| | 01:03 |
of Push, and allows you to design your
own way of using Push.
| | 01:08 |
So let's see how we can manually map on
Push to control Live.
| | 01:10 |
I have two drum loops loaded up and I
have an auto filter on one of them, and a
| | 01:15 |
beat repeat on the other.
I'll map the course fader in Live to be
| | 01:20 |
controlled by the touch strip, and then
map two pads to turn on and off the effects.
| | 01:26 |
Check it out.
So in Live, I'm going to show the course
| | 01:30 |
fader using the X view selector, next to
the master track.
| | 01:34 |
I'm going to go into media map mode.
(SOUND) Click on the course filter and
| | 01:39 |
move the text slip.
I am going to click on the auto filter on
| | 01:43 |
off button, and hit one of the pads,
doesn't really matter which.
| | 01:50 |
Let's switch to audio number two.
Click on the Repeat button and hit a
| | 01:54 |
different pad.
Let's exit Midi Map mode, turn on the
| | 02:00 |
Beat Repeat, make sure that is works,
nice.
| | 02:05 |
I'm also going to assign each side of the
course fader to both audio tracks.
| | 02:11 |
Audio track number one to a, and audio
track number two, to b.
| | 02:16 |
I'm going to switch to outside of user
mode, go into session mode just so I can
| | 02:20 |
launch the clips.
So let's launch them and then I'm
| | 02:24 |
going to switch back to user mode, and
we'll play around a bit.
| | 02:27 |
(MUSIC)
| | 02:37 |
(MUSIC).
| | 02:47 |
Nice.
The user mode can be used side by side
| | 02:51 |
with all of push functionality.
So, if you are making music in note mode,
| | 02:56 |
then controlling your Live setting
session mode, at the same time you can
| | 03:00 |
jump to user mode, and have it controlled
any menu mapping you mapped in Live.
| | 03:06 |
If you're a Max for Live programmer,
check out the Push development kit from florianzand.de/push.
| | 03:13 |
If you're using Suite nine, you already
own Max for Live.
| | 03:19 |
You can also check maxforlive.com for any
new Push Max for Live devices the
| | 03:23 |
community shares.
Most of them are free, and some of them
| | 03:27 |
are paid.
although we only map the touch grid two
| | 03:31 |
pads you can map any one of the pads as
midi nodes.
| | 03:36 |
And any one of the buttons knobs and the
touch clips as cc or control changes to
| | 03:40 |
control any map able parameter you want
in able to life
| | 03:45 |
| | Collapse this transcript |
|
|
4. Tips and TricksAdding custom LED feedback| 00:01 |
As you might have noticed, when switching
to User mode, all the LEDs are turned off.
| | 00:06 |
To add LED feedback in User mode, you
have to send MIDI to the Push.
| | 00:11 |
To do so, you need to create an empty
MIDI track in Live, and set its output to
| | 00:14 |
the Push User mode.
So in Live, I have a empty MIDI track.
| | 00:21 |
And I'm going to set MIDI to Ableton Push
> User Port.
| | 00:26 |
Now you can create a MIDI clip, and add
some notes to turn the color spawning
| | 00:29 |
LEDs on the Push.
I want to double-click anywhere in the
| | 00:33 |
empty clip slot to create the MIDI clip,
and I'm going to put some MIDI notes in.
| | 00:40 |
I'm going to turn on the Pencil mode.
And let's draw some MIDI notes.
| | 00:52 |
Now when we launch the clip, we can see
the LEDs turn on, on the Push.
| | 00:59 |
(SOUND) If you change the note
velocities, the LED colors will change.
| | 01:05 |
I'm going to select all the notes by
highlighting them, and change the
| | 01:09 |
velocities in the velocity lane.
And when we play the clip, we can see the
| | 01:16 |
color changed.
(SOUND) So, as you can see, if we change
| | 01:26 |
the note velocities, the LED's colors
will change as well.
| | 01:31 |
You can create beautiful light shows with
some creative Midi clip editing.
| | 01:35 |
Check out one example.
I'm going to select all the notes by
| | 01:38 |
hitting Cmd or Ctrl+A.
And Hit and Delete.
| | 01:41 |
I'm going to start from C1, hit Cmd D or
Ctrl D to duplicate, and use the arrow
| | 01:45 |
keys to move the notes up and down.
(SOUND) I'm going to hit Cmd or Ctrl+A to
| | 01:53 |
select all the notes, and hit Duplicate
Loop.
| | 02:00 |
Let's select the duplicated loop and
bring it up to continue the rise of all
| | 02:04 |
the notes.
Let's do this one more time.
| | 02:08 |
Duplicate loop.
I'm going to hold shift and hit the up
| | 02:13 |
arrow to jump in octaves which will make
it quicker.
| | 02:16 |
And now if I play the clip Go switch to
user mode.
| | 02:26 |
Let's change the color.
I'm going to hit Command or Control A and
| | 02:28 |
move the velocities once again.
Let's make it a lot faster by using the
| | 02:34 |
divide by 2.
Let's hit it twice...
| | 02:38 |
Set the loop bracket to only loop one
bar, yes.
| | 02:46 |
We can use the midi transformation
controls to reverse it, very cool.
| | 02:56 |
(SOUND) To get a visual feedback when you
hit the pads, create a new midi track,
| | 03:00 |
hit Cmd, or Ctrl, Shift, T.
Lower the section of the button screen to
| | 03:06 |
see the inputs and outputs.
Set the MIDI one Ableton Push user port.
| | 03:13 |
And MIDI two, Ableton Push > User Port.
(SOUND) Now, when you arm the track,
| | 03:19 |
(SOUND) you get visual feedback.
(SOUND) If you want to play an instrument
| | 03:24 |
while getting visual feedback, you need
to set the monitor state to In, which
| | 03:29 |
won't require you to arm the track.
(SOUND) Not every time you hit the pad,
| | 03:36 |
it will light up at the same color.
Because it's very hard to hit the same
| | 03:42 |
velocity each time.
You can use the velocity media effect to
| | 03:47 |
keep the velocity the same on the
selected value.
| | 03:51 |
Let's load up the velocity media effect
by going to media effects.
| | 03:55 |
And drag the velocity onto the second
midi track.
| | 03:59 |
I'm going to set the mode to fixed.
(SOUND) And then the outhigh will
| | 04:02 |
determine the color.
(SOUND) You can also MIDI map the out
| | 04:07 |
high to one of the knobs on the push by
going to MIDI map mode.
| | 04:13 |
Hitting the out high and moving one of
the knobs.
| | 04:17 |
Let's exit MIDI map mode by hitting it
again, and now you can choose the color
| | 04:22 |
with the knob.
Try to use other MIDI effects to achieve
| | 04:30 |
interesting LED light feedback.
Like the code MIDI effect, to turn a
| | 04:34 |
couple of pads simultaneously.
Let's load the code MIDI effect from the
| | 04:39 |
MIDI effects, drag it to the second MIDI
track, add couple of notes, (SOUND) and
| | 04:44 |
now when I hit the pad, (SOUND) multiple
notes are lighting up.
| | 04:52 |
You can even use the Arpeggiato to cycle
between a few LEDs.
| | 04:56 |
Lets turn off the chord, bring the
Arpeggiator.
| | 04:59 |
Lets make it faster by changing the rate
and lets add some steps.
| | 05:12 |
You can even try them together for
interesting blinking results.
| | 05:16 |
So I'm going to turn back the code.
Also try to play with a position to see
| | 05:24 |
what happens.
So let's direct the code after the Arpeggiator.
| | 05:30 |
Right.
You can even create a media clip with all
| | 05:33 |
the possible notes, and adding the
velocity media effect to them, turning up
| | 05:37 |
the random, for some interesting results.
Now check it out.
| | 05:42 |
I'm going to create a miniclip on the
first minitrack, bring it up (SOUND) I'm
| | 05:49 |
going to create my first note on (SOUND)
C1 (SOUND) and duplicate it by
| | 05:54 |
highlighting it and hitting Cmd or
Ctrl+D.
| | 06:01 |
(SOUND) Highlight all the notes, and
copying them down.
| | 06:07 |
(SOUND) Let's highlight everything with
Cmd or Ctrl+A, so we can take a group of
| | 06:11 |
them again, Ctrl+A (SOUND).
Let's use the side zoom to Click and Hold
| | 06:19 |
and Drag it left to see more and more
octaves.
| | 06:23 |
That's a more the way out.
Select all the notes with command or
| | 06:27 |
control A.
And start copying them, so we can get the
| | 06:30 |
media clip with all the notes.
Now when we play this media clip, you
| | 06:36 |
should see all the pads on the push light
up.
| | 06:41 |
Excellent.
Let's load a velocity media effect.
| | 06:49 |
Turn the mode to fix and add some random,
and let's see what happens when we launch
| | 06:53 |
the clip.
(NOISE) Very cool.
| | 06:59 |
If you want to make the LEDs change
faster, you can change the note values.
| | 07:08 |
Remember the push is bus powered, but if
you plugin the AC adapter, the LEDs will
| | 07:12 |
become even brighter.
There are a lot of things you can do with
| | 07:15 |
this cool technique.
Give a cool light show to your audience
| | 07:19 |
or even write your name with clips.
I have a few clips loaded up here.
| | 07:24 |
But, first I am going to turn off the
media effects.
| | 07:28 |
(SOUND) Let's launch the first one A, B
and C.
| | 07:38 |
Today the visual aspects of the live
performance may be as important as the music.
| | 07:44 |
And while this is not a necessary
technique to make music, it can be an
| | 07:47 |
added value onstage to engage your
audience during live performances.
| | 07:52 |
| | Collapse this transcript |
| Step sequencing melodies and using third-party plugins| 00:01 |
In order to make global changes, you need
to access the global settings.
| | 00:05 |
To enter Push's global settings, hold
down the User button.
| | 00:10 |
Push will then display three options you
can change.
| | 00:13 |
Pad Threshold, which will set the softest
playing force that will trigger the notes.
| | 00:19 |
Higher the settings stronger the hit
needs to be to trigger the sound.
| | 00:23 |
(SOUND) Note that at lower thresholds
with negative values sounds may trigger
| | 00:29 |
accidentally and pads may latch and hold.
| | 00:34 |
(MUSIC)
| | 00:38 |
Let's bring back up.
Velocity curves let's you determine
| | 00:53 |
different curves which will change the
response of the pads when hit.
| | 00:59 |
The curve ranges from linear, a one to
one relationship between striking force
| | 01:02 |
and note velocity, to various logarithmic
curves.
| | 01:11 |
By default, it's set to logarithmic one.
Higher logarithmetic curves provide more
| | 01:17 |
dynamic range when playing softly.
Advanced finger drummers might benefit
| | 01:21 |
from higher look logarithmic curve
values.
| | 01:25 |
Workflow let's you change how push will
behave when using the duplicate button,
| | 01:29 |
the new button and the up and down
navigation controllers.
| | 01:34 |
In scene workflow, which is the default
mode, the duplicate button, not to be
| | 01:38 |
confused with the double button,
duplicates the entire scene a row of clips.
| | 01:45 |
The New button works in the same way,
except it does not duplicate the
| | 01:49 |
currently selected clip.
Instead, an empty clip slot is created
| | 01:54 |
for you to compose a new musical idea.
So let's check it out in Live.
| | 02:00 |
So I got one scene of clips here.
Right now I'm seeing workflow.
| | 02:06 |
If I hit the duplicate button, then
tilesyn will be duplicated.
| | 02:10 |
Let's hit the undo.
If I hit the new button while focused on
| | 02:14 |
the first track, then tilesyn will be
duplicated except the track that I'm
| | 02:18 |
focused on, and the track will prepare
for us an empty clip slot to record a new
| | 02:23 |
musical idea.
Let's undo that.
| | 02:29 |
I am going to switch to clip workflow.
And now when I hit New, all the clips
| | 02:36 |
remain in the scene except the track that
we are focused on which will jump to a
| | 02:40 |
new scene and prepare an empty clips slot
for us to record a new musical idea.
| | 02:46 |
Let's change back to Scene work flow.
The up and down notification controls
| | 02:54 |
move by a single scene immediately when
ignoring the global quantization.
| | 02:58 |
(SOUND) In clip workflow the up and down
navigation controls launch the next
| | 03:06 |
previous clip in the selected track.
Other tracks and clips are not affected.
| | 03:15 |
(SOUND) As you can see, only the first
track is affected by navigation controls.
| | 03:24 |
It's very important to be aware,
especially in live situations, that when
| | 03:28 |
we create and play music with the Push in
Note mode, the up and down navigation
| | 03:31 |
controls will completely ignore the
global quantization, and will jump
| | 03:35 |
immediately to the next or previous
scene.
| | 03:41 |
Its better to jump to the session view
even for a moment by temporarily holding
| | 03:45 |
down the session button to use the up and
down navigation controls in session mode
| | 03:49 |
which will follow global quantization.
You might not need to access user
| | 03:56 |
settings so often, but it's very valuable
to know the different global settings you
| | 04:01 |
can change to optimize the push for your
playing style.
| | 04:05 |
| | Collapse this transcript |
| Browsing and loading third-party plugins| 00:00 |
Ableton Live comes with a massive amount
of sounds, especially in the suite version.
| | 00:06 |
And using the Browse mode, it's very easy
to load built-in instruments and effects.
| | 00:10 |
Ableton Live also supports VST and audio
units which are third-party plugin formats.
| | 00:18 |
Plugins like synthesizers, samplers, and
effects.
| | 00:22 |
Popular examples would be, Native
Instruments Massive, or Waves plugins.
| | 00:28 |
To load third party plugins from Push,
you will first need to load them up.
| | 00:34 |
I'm going to go my plugins, open up the
VST, and I'm going to load the tile, Noisemaker.
| | 00:41 |
Drag it to a MIDI track, I'm going to
open up the configure.
| | 00:45 |
Turn on Configure, and hit whatever
parameter I want to control from the Push.
| | 00:51 |
So let's select a few.
| | 00:54 |
(SOUND).
| | 01:00 |
Close configure, we can hide the
synthesizer.
| | 01:06 |
And now, click on the device title, and
hit Cmd or Ctrl+G to group it into an
| | 01:12 |
instrument track, Save that track.
Rename it whatever you like, let's call
| | 01:20 |
it noisemaker.
And now you can browse for it from within
| | 01:25 |
the Push.
After you save the rack, you'll be able
| | 01:30 |
to see it in Browse mode, (SOUND) and
load it from the Push.
| | 01:35 |
Instrument rack, going to scroll all the
way down, and you'll see Noisemaker.
| | 01:42 |
(SOUND).
Let's exit Bars mode, focus on the
| | 01:46 |
device, and go in, to see, all the
parameters that we configured, and now we
| | 01:51 |
can control them.
If you want to skip the step of going in,
| | 02:00 |
and controlling everything for the macro
controls, you'll need to first map them.
| | 02:06 |
To do so, right-click on any parameter,
and map it to a micro controller.
| | 02:10 |
Let's say, micro one, two, five.
And now every time you load the
| | 02:28 |
instrument rack, you don't have to go in.
You can simply control it from the macro controls.
| | 02:35 |
Know that if the plugin that you are
loading has less than 32 parameters, Push
| | 02:39 |
will auto-populate all parameters in four
banks.
| | 02:44 |
But if the plugin has more than 32
parameters, which is the case with most plugins.
| | 02:50 |
You will have to configure your preferred
parameters you want to control.
| | 02:54 |
If you configured more than eight
parameters, you can access other
| | 02:58 |
parameter banks using the In and Out
buttons.
| | 03:02 |
So, let's configure more than eight, hit
the Configure, click on some extra
| | 03:07 |
parameters, close Configure.
We can also hid the synthesizer.
| | 03:15 |
Now when we go in, we see two banks.
It is not possible to change the names of
| | 03:24 |
parameters or banks from Live.
The names will be determined by the plugin.
| | 03:30 |
But you can change the macro control
names which will be updated in Push when
| | 03:34 |
you refocus on the rack.
So for example I'm going to right-click
| | 03:39 |
on the first macro control, choose,
Rename and call it whatever I want.
| | 03:45 |
Lets say Hello.
Focus on the TAL-NoiseMaker.
| | 03:51 |
On the Push I'm going to go out, and then
focus again on the NoiseMaker and we can
| | 03:56 |
see it updated, the first macro control
to hello.
| | 04:01 |
Push was designed to work best with
Ableton Live built-in devices.
| | 04:05 |
But using this technique you can load and
control all your field party plugins.
| | 04:12 |
| | Collapse this transcript |
| Step sequencing melodies| 00:00 |
Let's check out a couple of methods to
sequence melodic sounds, or bass lines,
| | 00:04 |
using Draw mode, giving us yet another
way to make music with the Push.
| | 00:10 |
The first way is to create an empty drum
rack.
| | 00:13 |
I have an empty drum rack loaded up in
Live.
| | 00:16 |
Let's switch to the device view.
We can see it's empty.
| | 00:18 |
And we also have a synthesizer loaded up
with a base sound can be whatever sound
| | 00:23 |
you like.
You need to set the midi from in the base
| | 00:28 |
int, so the empty drum rack.
If you cannot see the inputs, outputs,
| | 00:32 |
make sure that the inputs, outputs view
selector is turned on next to the master tech.
| | 00:39 |
Then focus on the empty drum rack.
| | 00:43 |
(NOISE).
| | 00:48 |
So we can choose a note and start a
sequence in it.
| | 00:52 |
(NOISE).
| | 01:16 |
Of course you can use all the
functionality of the drum act sequencing
| | 01:19 |
like beat mode accordingly in time and
fix length (SOUND).
| | 01:23 |
A different way is to load your
instrument into the empty drum rack.
| | 01:28 |
So I'm going to take my bass synth and
just drag it to the drum rack.
| | 01:35 |
Open up the chain list.
Open up the inputs/outputs.
| | 01:41 |
And set the receive, to all notes all the
way on top.
| | 01:46 |
(SOUND) And now, you get the same
functionality only on one track.
| | 01:53 |
Two ways to do the same thing If you want
to keep your tones in key, try adding the
| | 01:59 |
Scale Media effect before the drum rack.
So go to Media Effects, open up the Scale
| | 02:07 |
Presets, and let's for example choose the
C Major.
| | 02:15 |
So now, all the notes that are not in C
major will be corrected to notes from
| | 02:18 |
within the C major scale.
(SOUND).
| | 02:21 |
You don't have to only sequence drums in
drum mode, but you can take the advantage
| | 02:27 |
of the full functionality of the step
sequencer to sequence any type of sound
| | 02:33 |
that you would like.
| | 02:37 |
| | Collapse this transcript |
| Using Key mode to learn new songs| 00:01 |
The Push can help you compose songs and
perform them live, but it can also be a
| | 00:04 |
great learning tool.
Remember, the Push is an instrument that
| | 00:08 |
you will need to practice in order to
master, just like you would on a cello,
| | 00:12 |
or guitar.
When working with software instruments,
| | 00:17 |
the notes that are used to trigger the
sounds are called MIDI.
| | 00:22 |
MIDI files can be played from your
browser or from most medley players.
| | 00:27 |
They will usually played with a simple
generic sound but once you put them in
| | 00:31 |
your music software you could choose to
play them with any sound you like.
| | 00:37 |
You can find MIDI files online for almost
any song you can think of.
| | 00:42 |
You can try and search the song title
followed by the word MIDI.
| | 00:48 |
I've downloaded the classical piece
titled Bach Cello Suite No 1, and let's
| | 00:52 |
drop it into Live.
I'm going to go to my finder.
| | 00:56 |
I'm just going to drag it from the
finder, or explorer, if you're on
| | 01:00 |
Windows, to an empty clip slot in Live.
First, we need to select the sound to be
| | 01:06 |
triggered by the MIDI clip.
I've chosen a cello sound, just to be
| | 01:10 |
close to the original, but you can select
any sound you like.
| | 01:15 |
I'm going to make sure I'm in Key mode.
Hit the note, and see in the isomorphic
| | 01:21 |
keyboard with the white and blue pads
(SOUND) you got the cello sound.
| | 01:27 |
In key mode I'm going to switch to
chromatic mode, so I'm going to hit the
| | 01:31 |
Scales button.
And hit the in key and switch it to
| | 01:35 |
chromatic, so we can see all the notes in
the scale.
| | 01:39 |
But push will still light up the notes
from within the scale, which is right now
| | 01:43 |
set to C major.
Let's first listen to the piece and try
| | 01:49 |
to determine if it sounds more happy,
cheerful, and lively, or sad, dramatic,
| | 01:54 |
and dark.
Let's launch the clip, going to go into
| | 02:03 |
session (MUSIC).
So I think this piece is more happy, so
| | 02:14 |
I'm going to stick with a major scale.
We can see that not all the notes fall in
| | 02:26 |
the C major scale when we play the song.
So I'm going to try and switch between
| | 02:31 |
keys to come up with the right key of the
song.
| | 02:36 |
(MUSIC) So it's not C.
(MUSIC) It's not f.
| | 02:40 |
(MUSIC) It's not B flat.
(MUSIC) Looks like the G major.
| | 02:50 |
This is a classical piece, so all the
keys and scale information is available
| | 02:54 |
online, but I wanted to show you this
technique so you can apply it to any song
| | 02:57 |
you are trying to learn.
Next, I'm going to turn off chromatic mode.
| | 03:06 |
So I'll only see the scale.
Now, I'm ready to learn the song by
| | 03:10 |
playing it, and trying to hit the right
pads at the right time, almost like a game.
| | 03:15 |
(MUSIC).
Remember you can always use the tempo nob
| | 03:33 |
to slow down the song so it will be much
easier to play along.
| | 03:38 |
So let's turn it down to about 30 bpm.
so push is not only good for making
| | 03:51 |
melodies harmonies base lines arranging
your music and performing it live it can
| | 03:56 |
also be great tool for learning how to
play music
| | 04:01 |
| | Collapse this transcript |
|
|
ConclusionWhat's next?| 00:00 |
Thank you for watching this course.
I had a great time making it.
| | 00:04 |
The Push is one of the most innovative
instruments to come out in recent years.
| | 00:09 |
I've shown you all the built-in
functionality of the Push, but check
| | 00:13 |
online for any Push modifications, like
Julien Bayle's page focusing on Push
| | 00:17 |
hacking, where he explains how to add
custom scales, change the color scheme,
| | 00:22 |
and even change the way Push works.
If you're interested in taking your
| | 00:29 |
knowledge further, check out these
courses on lynda.com, Ableton Live for
| | 00:33 |
Live Performance, and Ableton Live 9
Essential Training.
| | 00:38 |
Thanks for watching.
| | 00:39 |
| | Collapse this transcript |
|
|
