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Create music in real time, on stage, or while producing in the studio, with Ableton Live. In this course, music professor Rick Schmunk shows you how to compose, record, remix, improvise, produce, and edit your musical ideas. Along the way, get familiar with the Live interface, work with its views for recording and editing audio and MIDI, and explore its unique real-time recording and mixing capabilities. Plus, learn real-world production skills that can be applied to songwriting, studio production, and DJing. The final chapters offer an inside look at features added in Live 9, such as new Instrument Racks containing over 3,000 production-ready sounds, and Max for Live, a toolkit for building custom devices.
The output from drum loops and some software instruments results in a single stereo signal. Which does not allow the independent signal processing that's almost always required to dial in a good drum sound. Let's take a look at how you can set up Impulse as a multi-output device and add signal processing to the members of the drum set. So I've got an impulse preset loaded on this first track, and to set up multiple outputs, I need to create several audio tracks. So I'm going to use the key command Cmd+T, that would be Ctrl+T on a PC, and I'm going to select those tracks that I just created by shift-selecting their names.
And I'm going to go down to the audio from chooser, and I'm going to click on that. And I'm going to set the input to come from the impulse track. Then I'm going to go to the individual chooser, the second one. And I'm going to set that to the individual instruments. So, I'll set the first one to kick, and then snare. And as I did that, I was making a mistake. I still have the track name selected. So you'll see that they're all set to snare. So I need to deselect that. So I've only got one track.
And now I can go back to do this correctly. So let's go kick snare there already. And I'll make that one Clap and then Tom, then that Clock noise, and that Synth section, and so I can see a few more of these tracks. I'm going to hover my cursor in the right edge of one of these tracks, then hold down my Option key and then I'll drag to the right, and that will change the track width of all these tracks on this side here.
So let me set the next one to Synth section and then I need two more tracks, so again, I'll use the key command, Cmd+T, or Ctrl+T on PC to add those last two tracks. Again, I'll set that to impulse and then I'll hit closed Impulse and high hat open. Now in order to hear these tracks, I need to set them all to input monitoring because there isn't any audio on the clip slots on these tracks.
I need to monitor the audio that's flowing out of impulse through the tracks. I'll put that in and now as I press the keys on my key board. I should be able to hear that and let me just make sure that this, first track is Record Enabled to do that. Here we go. (music playing) So you see the individual elements coming on to their separate tracks. Now, to keep organized here, I'm going to go up on that first track and I'm going to rename that using the key Command, Cmd+R, that'll be Ctrl+R on a PC.
And we'll call this first one kick and now I'm going to hit my Tab key that then moves to the next one. And I'll call this Snare, Claps, Tom, Clock, Synth, closed high hat, and open high hat. Hit my return key to finish there. And again, I'm going to make those track widths, just a little bit narrower. So I'm going to grab that, pull that over. That makes it a little bit easier to look at.
What are some of the additional benefits that we get here? I'll just start off with instead of having to go down onto the software instrument and set the pan and volume for each slot there, I can now actually do it on the individual tracks. So, let's just say that the kick is a little bit too loud, the snare, that's just fine. Claps are okay. This one term I want to pan that to the left so I click in there and then drag down and the high hats, I want to pan those over onto the right side. These two sounds are little bit loud so I will pull those back so I can make individual settings.
Also, I can use independent signal processing. So, I'm going to go into my audio effects area and let me get rid of that search that was up there. So I can see my different devices and I'll go into the compressor section. And let me pull down, I think there is a kick compress. There is, so let me drag and drop that on the kick track. And on the snare track I can grab this snare preset for compression, and then let me go to the EQ. So there's EQ 8, and I'm going to drop a EQ on the kick track and I'm going to move that over before the compressor. And often times, I'll suck a little bit out right around about 2-, 225 Hz, 250, somewhere in that range.
Tighten the cue just a little bit, pull that down, and maybe pull up, just to get a little bit of snap, around 2K, and again I'll tighten the cue just a little bit. So I've got signal processing set independently for the kick and the snare. And I can work on each one of these individually. Now as a group, I can add reverb so on this return track A. I'm going to go down and go into the reverb category.
And there's a sub folder there for room sounds. And I just happen to know that there is a drum reverb preset. And I'll drag and drop that onto the first return track. So now I can add independent reverb. So, if I don't want any on the kick, I just won't add any, if I want more on the snare. I'll pull up the synd a little bit, collapse I'm going to want maybe the same thing, and maybe just a little bit to warm up the high hats, and maybe these sounds need just a little bit. So now as I play this clip that I have here on this first track, we should hear all of this with a little bit of signal processing and reverb. Let's check it out.
(music playing) And you can hear reverb especially on the snare and claps. And we can see that I had some return signal on the track because of the signal that I had copied from this first scene. Now one of the trick that I often like to do is to use parallel compression on another return track. So I'm going to go back into the compressor area and I'm going to drop a default compressor on to the return track B and lets hold the threshold down on that often times. I'll really step on that one.
Let me put that around nine or ten to one. And I'll often also EQ this. So let me grab an EQ 8. And I'll drop that on a track before the compressor. And I'm going to change this bottom onto this active here into a low shelving filter. So that as I add a little gain on that, flatten the queue out, move the frequency over, and I'll do the opposite over here on the other side, turn that into a high shelving filter. And let me add a little gain, and again flatten the queue there. So I'm just going to boost the lows and the highs a little bit. So in the end, the sound that I'm going to create over here is going to be very compressed, and the low and the high end are going to be hyped. But I can use the fader to just mix that back in subtly. So, I'm going to pull this back a little bit, and then I'm going to add just a little bit of everything here.
And then so that I can hear what we've got here without having to listen to the rest of the tracks. I'm going to go ahead and set this up as a pre fader send then I can mute this first track and I should just hear what's coming through the return track. Let's check it out. (music playing) And now I can put the whole thing together. (music playing) And as I pulled that down, you could hear that it was not as dramatic a drum sound and as I lifted up you could hear that the low end and the kick was emphasized.
Over here on the master fader, we did see that there was a little bit of red showing, so I'd have to either be careful of my levels on the individual tracks. Or pull back the parallel compression that I've set up here on this last return track or you might want to drop a limiter onto your master track. The last thing you might do just to keep organized would be to select all of these tracks and group them. So, let me go ahead and shift-click there and then right-click on any one of these and choose group tracks from the Contextual menu. And now, I get this drum group which I'll rename Drums, so that, as I get too many tracks out here, I can just click the fold buttton. And when I don't need to work with the individual drums, I've got this overall drum track to work with.
So, setting up impulse, as a multi output device, is not hard to do and it offers a great deal of flexibilty and control on how the signals are routed and the effects that can be used.
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