Creating a Redrum in Ableton Live 9 | Mister Gray | Skillshare

Creating a Redrum in Ableton Live 9

Mister Gray, DJ / Remixer / Producer

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8 Lessons (43m)
    • 1. Introduction

      0:19
    • 2. Chapter 1 Organizing Your Channels

      1:50
    • 3. Chapter 2 Choosing A Song

      1:09
    • 4. Chapter 3 Warping

      4:39
    • 5. Chapter 4 Choosing & Placing Percussion (Part 1)

      11:22
    • 6. Chapter 4 Choosing & Placing Percussion (Part 2)

      14:02
    • 7. Chapter 5 EQing The Original Song & Percussion

      6:55
    • 8. Chapter 6 Mastering & Conclusion

      2:22

About This Class

In this class I will go over some basics of Ableton Live while showing you how to create a redrum of a song from the 80s. Among the things that I will be teaching will be warping, EQing your drums, a basic final mix down of your redrum and much more.

Transcripts

1. Introduction: in this class I will go over some basics of able to live while showing you how to create a redrum of a song from the eighties. Among the things that I will be teaching will be warping Ik Ewing, Your drums Ah, basic final mix down of your redrum and much, much more. I hope you guys enjoy it and learn a lot from this tutorial. 2. Chapter 1 Organizing Your Channels: Okay. First thing that we need to do is open up a Bolton and organize our channels. Once you have able to open, you want to select the arrangement view in the right hand corner and you're going toe. Want to de select the ins and outs as well as the reverb and delay because we won't be using that in this tutorial. Also, I am deleting the MIDI channels because we won't be using those in this tutorial either. Now we're left with two audio channels which needs some e que. I personally used the stocky Q eight that comes with a Bolton Soto. Add that to the channel. You need to make sure that you have the specific channel selected and then double click on the audio effect that you would like to place in there. I will add that to both channels and this specific tutorial. I will be using about 10 channels, so we need to duplicate the channels that we have to do. So you would select one of the channels and hit command D that will duplicate the channel. Next, we want to group some of the channels together, which will be our percussion group, I will be using eight of the channels for percussion. So to group the eight channels together, you will select the top channel and then scroll down to the eighth Channel and hit shift and click, which will select those eight channels. Once you have done that hit command G and that will group them together. We're going to rename this group percussion. To do so, you need to select the group and hit command R and then type in percussion. Now that we have done that, we need to select the song that we are going to use. 3. Chapter 2 Choosing A Song: When selecting a song to redrum, you usually want to pick something that is older that just needs to be beefed up a little bit. I personally chose Matthew Wilder's Break My Stride. It's a great 80 song, and a friend asked me to redrum it, So I'm using it for this tutorial. Also for warping purposes. It's somewhat easy toe warp, this one, because we won't have to get to tedious when doing so you can choose whatever song you want . If you choose a newer song that was made Elektronik Lee, you don't really need to do anything special with warping, but anything that is older and or played live, you will need to spend some time warping it properly. So once you have picked your song, dragged that song into a bilton just like that. Now we will double click on the song, and it will show up below in the clip view. Now you can edit your clip through this view. This is where we will warp the song. You can also adjust the volume which I'm going to do now. There are quite a few other things you can do in this view, but for this tutorial, that's all we need to know. For now, 4. Chapter 3 Warping: Okay, now that we have chosen a song, we need toe warp that song So we have the clip selected and you want to go to the clip view down here and you want to hover over the top of the cliff view where the wave form is to zoom in you will see a magnifying glass show up when you hover over the section that allows you to zoom in and out. Zoom in. You will need to hover over that section, click and then scroll down to zoom out. He do the same except you scroll up. Now we need to set the first warp marker at the very beginning of the song To do that, zoom in very, very close to the beginning of the song. This is usually where the kick drum would be And in the song that I have chosen it is once you have found the start of that song, you want to hit control Click. You'll see something pop up on that you want to select set 111 here. That means you are setting the beginning of the Clipper song to that specific spot. Now that we have done that we can start warping. I start off by warping per measure. So zoom into the beginning of each measure in place. Award marker there and you'll see what's called a transient marker, which is a grave marker that able to inputs there to help you know where to place your markers when warping. A lot of times it is correct, and you can just double click on that, and it will create a proper warp marker for you. Now we need to adjust that and put that marker at the beginning of measure to We go to Measure three and you can see that it's a little bit off. So we will double click that and then adjust that. This process definitely takes a long time. So I'm going to fast forward and get to the next step of warping. - As you can see, I have a bunch of different markers here, which are placed at the beginning of every measure throughout the song. Until about the end, I placed a few as the song fades out, which is where we're going to create our altro for the redrum. Now what we need to do is find Tune this so we're going to zoom in on the snares. The snares happen every second and fourth beat of every measure for this specific song. So we'll zoom in on the snares and place our marker and then snap it into place. This process takes even longer. So I'm going to fast forward through this as well. - Okay , now that we have warped all of the snares throughout the song, we need to save this so we don't lose any information to save hit command s. I'm saving this to my desktop. You can save yours to wherever you would like to save it. Now that we have that saved, let's zoom in and see what we have. Everything looks lined up nicely, and I'm definitely happy with what we have so far. If you're not happy and want to go more in depth, that's up to you. If you have the time and patience, you can adjust some other kicks and even high hats. If you need to adjust things in the future, you can always adjust the wort markers later. Like I said, I'm happy with what I have. So I'm going to continue to the next step in the redrum process. 5. Chapter 4 Choosing & Placing Percussion (Part 1): Okay, now that we've worked our song, we need to choose the percussion that we're going to use in the redrum. I start off by renaming each one of the tracks with something that I'm going to be using for the redrum. First is gonna be kick again, select the channel and type and kick. Next. I'm going to be using a snare, select the channel command are snare. And so on and so forth. The high hat, partly open. High hat, Probably a clap. And ah, maybe a crash. Okay, now that we've renamed those, we need to choose what we're going to use. I have a folder over here. Redrum, video drums. So I will go into the Kicks folder, listen to some kicks, and you want to get something that's going to sound similar or basically complement the kick drum that's already there. You don't want anything that's going to be too overpowering. I like the hip hop kick three. So I'm going to drag that there and let's pick a snare again. You want to get something that's gonna compliment the song, the original song, and not overpower the original song like that right there. I would never use that for a redrum oven 80 song, because it's a little bit too harsh. I like hip hop snare 001 So let's drag that in here. And let's go for a high hat like closed hat. 002 So let's drag that over there. Let's do an open high hat like that. It's got that that really sound to it. Okay, now let's choose a clap. All right? I like lab 005 We'll take that one. All right? Now that we have those out, let's go ahead and line those up where they need to be. So snares are going to land on the second beat and the fourth beat of every measure so we can go ahead and place those there. Hi hats weaken. For right now, I'm just going to duplicate them. Every beat and an open I had I will probably put towards the end of the second measure, and this is all basically up to you, how you want it to sound. Usually you're collapse in your snares are going to land on the second beat and the fourth beat of every measure. And then your kick is going to be wherever your kick is in the original song. So I'm going to move the kick channel down to the original channel. That way we can line everything up properly and be able to see it. So let's solo this and solo the kick you can already hear. The sound of that kick is giving the original a lot of, ah lot more ump a lot more of Ah ah, bottom end. All right, so for what I can see it. The kick lands every first and third beat of the measure. So we'll go ahead and place those there. And what I'm doing is I'm selecting the original sample of the kick, holding down cult or option and dragging the kick to the next place that I wanted to be. And now that we have two measures of kicks, I'm just going to duplicate that I will select the two measures that the kick is then and duplicated like so, and I'm gonna duplicated throughout the entire song. And then if we need to adjust that in the future, we will. But for now, I will just put that through the entire song. Okay, that's sounding good Now, let's go ahead and place the snares and or the collapse. I'm gonna put the kick channel back into the percussion group. All right? Now, let's on solo that and I'm going to mute the hi hats and meet the clap and mute the open hat. All right, That sneers is a bit loud. So it's turned that down a little bit. Yeah, it's still a little bit loud, so I'm gonna turn it down some more, and I'm going to duplicate that throughout the entire song as well. That way, it's just easier for me to do. Uh, and if I need to adjust anything in the future, I can adjust it as we go through the song. Okay. All right. Now, as you can hear right here, you've got an open hat. We're gonna compliment that open hat with our open hat. And let's a mute that let's raise up the volume on that one. All right, let's add some reverb and a tiny bit of ping pong delay. And with the river by Mina, take off the low cut and take off the high cut and I'm gonna raise the size to the max, which is 500. Um, decay time will do little over two seconds and dry wet. Be about 10%. That way, it's just a little bit. It's not too much. And with the ping pong delay, I'm gonna have, like, a little under 10% feedback. And let's do 15 15% for the dry wet 14. 14. Sounds good. Okay, so you can hear that a little bit. It's not too much, but enough to give it a little bit more depth. Yeah, that sounds good. All right, Now let's Ah, let's bring the collapse into play. Definitely too high, Too loud. So let's bring that down a lot. And you can hear the sound difference between with and that The collapse. Ah, definitely adds a good element to it. So we're gonna duplicate that throughout the entire song. Oops. All right, there we go. Okay. So this what we have so far. All right, I'm gonna go ahead and duplicate the open hat, too, because it seems like it's in there every two measures. You can hear it here. It doesn't land on the fourth beat of the measure. It lands on the up between the fourth and the first beat of the measure. So? So we might need to change that up a little bit. Let's hear it. Yeah, like that. Let's see if it happens again In a couple of measures, Theo. Yep, it sure does. So let's go ahead and duplicate that, and we're gonna duplicate it until it doesn't happen again. As you can hear, it doesn't happen right before the course comes. And here it happens on the four. So you all right? So let's duplicate that whips. Let's duplicate that through the chorus, and I don't hear a high hat when it Ah, during the second verse. But I'm going, I'm going to go ahead and add that anyways, So I'm gonna add the open hat that we had in the first verse. So let's go ahead and copy and paste that. All right. Now, let's do the same thing we did to the course before, and we'll copy and paste that copy pace 6. Chapter 4 Choosing & Placing Percussion (Part 2): All right, Now, let's go back here and we're gonna start working on these high hats. Let's hear what they sound like. And stupid Kate that a few times, All right, we're gonna add a little bit of reverb on that, and I'm gonna take off the low cut and the high cut, and this time's gonna have the size a little under 200. Take a time. About two seconds as well, and the dry wet will put at about 19%. Let's see what we have now. That's a little bit too much. Let's take the dry. Went down some tens. Good. Now I'm gonna add a little bit of delay. That way we get kind of a bounce a little bit something extra. And you know what? I'm going to add a small amount of side chain compression with the kick that way gives it a little bit of movement, different way. All right, let's go ahead and duplicate that throughout the entire song. All right, that is done. Now let's find a crash. Let's find a crash. I wanna I wanna put a crash in there. I have mine in miscellaneous, so All right, I like crazier Zehr one. And we're gonna throw that there, and I'm gonna raise the volume up just a little bit. It looks pretty low if you look at the way form. Maybe that was the right. William. Let's bring it down. Toe seven. Now I'm gonna control through here. There we go. Let's add some reverb and we're gonna add a ping pong delay to this guy. Okay? With crashes. I like Teoh adult, An extended reverb time, and we'll do for their turn. Feedback down, dry, wet down. Was he word that sounds like there we go. That's a little bit something to it. I think I don't think I needed every four measure, so we'll do it every eight and then I'll plug it in if I want to plug it in in the future. But, uh, usually I place my crashes at the beginning of a verse or the beginning of a chorus, and sometimes during the chorus, I'll do it every four measures. Let's see if it sounds good with this one. With way. All right. I like that. That sounds good. Number had one there. And let's add 12 the next next course there we go. All right. Let's let's add some kicks in there, make it a little bit more interesting. All right, I'm gonna kicked in. Let's hear out. That sounds a lot of this is just testing out what sounds good. All right, that's good. I'm gonna lower this. So it gives it more of, ah, live. Maybe a different feel. Uh, I'm gonna take off a little bit of the, uh, attack on that one, so that sounds good. I like that. So I like that enough to where I am going to duplicate that for measures. No way. All right, now, I'm going to add some extra kicks in here right before the chorus. Let's hear this. All right, let's hear that sound. I like that. Now, let's add, I'm gonna add some high hats to that. That way, it's It's almost like we're creating our own Phil. Sometimes you got to think of it as if you're playing the drums, all right? And for the chorus, I'm gonna double up the all right. I like that. Let's go ahead and duplicate this section right here. Actually, we're not going to duplicate it. We're gonna copy and paste this I'm gonna make a different feel to go from the course to the next verse. All right? I'm gonna do a little bit of sneer work for this one. Spring that down a little bit, maybe Take some of that off right there. Okay? All right. I like what I have so far. So right now we just need to figure out where the chorus comes in again, which I believe is going to be 33. Yep. Comes in at 33. So since we already have the drums for the first course, we're gonna make him the same for the second chorus. So what you want to do is you want to click at the beginning measure and on the top or bottom of where you want to select multiple channels and you're gonna hit shift and you're gonna click at the top or bottom and the end of where you want to copy all of that. So we have a total of eight measures there. I am copying eight measures and I'm copying the kick, the snare, the clap, the high hat, open hat and the crash all together. Now it command C and then we're going to go over to where the next course comes in, which is 33. And you must have your cursor placed in the top left hand portion of where you want to place the copied percussion. So once you are there, hit command V to paste and boom we've got. Alternatively, we can undo that, which is Command Z. And we also have eight measures of averse and eight measures of chorus and weaken Select all of that. All that 16 measures and duplicate that since the next verse is also ate measures and the next course is also ate measures. So you want to do the same thing where you go the top left or the bottom left, and then you go to the opposite. So for me, it's the top left and then the bottom right of all the percussion that I want to duplicate . And once you have that selected command, D will duplicate it and boom. All right, now this is the bridge. So let's listen to this way. All right? I'm gonna keep that in there. All right? So we have eight measures of a bridge, eight measures of another verse, Theo, and then another chorus. So what I'm going to do is copy and paste. What I already know works for the verse and I'm going to add that to the bridge. And here's where you can have fun with your your percussion. Um, I'm gonna leave it the same for now. Ah, but you can have some fun with that if you'd like. And let's go ahead and duplicate that. And we want to copy and paste the drums from the course Way go and the course comes back in at 57 way go. Now it's paste it their way. We're gonna face it again. That way we have all that information and you can see the original song starts to fade out . So we're gonna end hours there. So let's take that off. You can hear the drums that we already have set up there, so I'm going to delete those drums and we're going to create an outro. And Altro is going to be the same as this intro. Basically, all you have to do is copy and paste it. So we're going to copy all eight measures and paste that over here. So let's hear how that sounds perfect So now we have that. And the next step is to e que everything e que The percussion e que The original song? Make sure the bases coming out nice and clean Eso that is the next chapter. 7. Chapter 5 EQing The Original Song & Percussion: OK, now it's time to e que the song and e que the percussion Also don't forget to save and let's get into that. So right now what I'm going to do is I'm going to duplicate the original song and I'm going to rename this original, and I'm going to rename this one original groups Original base. Now you can see that already have this EQ you'd Ah, I did a hard curve at 130 hertz and a soft curve at 178. So what we need to do to the base is basically the opposite of that. So let's de select those Select Eight and bring that down to 1 78 and we're going to bring this. Actually, this is going to need to be 1 78 The soft curve is gonna be what? This is 1 30 So we'll bring that to 1 30 So now we have this base, okay? And what I like to do is I am going to do some side chain compression with the kick drum and select the kick. But the ratio of about 3 to 1 release will be at about 15 milliseconds. Basically, your releases. How quick The kick drum. Basically, the release is how long the side chain will last. Four. So 15.5 milliseconds is pretty good for me. Let's bring down the threshold to about will say 16. Let's see how that sounds. All right, let's take that off. See how that sounds. All right. You can see you can hear how that sounds. I'm bring that down a little bit. Now, let's hear how everything sounds together. All right, Now I'm going to bring all of this down toe about negative five decibels that way. Weaken. We have a little bit ahead room if you notice. Right here. Way were redlining a little bit. If we have it up to zero, it's gonna ready. So it's pretty loud. Let's bring that down toe. Negative five. Okay. And now I want the base to come out a little bit. So I'm going to use the able to in glue compressor, and I don't want it to be too harsh of compression. So I will click soft, and I'm gonna bring the threshold down to It's a seven. And bring the makeup to seven as well. You can definitely hear the difference when it's taken off for sure. So I actually wanna bring the threshold down. I'm gonna bring it down to about negative 10. And bring this up to, like, nine. Okay? I'm cool with that. And I'm gonna do the same with the original song. And two, If you want to bring the exact same effect from one channel to another, you select the effect hit cult or option and then dragged that effect to the channel that you wanted to be in. So let's hear that without it. Okay, I like that. But the threshold needs to be a little bit lower. Threshold should be. I'd say about negative five and the makeup will put out negative for okay. I'm happy with that. Let's put them both together. Okay. Now let's hear with the drums. Alright. Starting to come together. Let's do the same with the percussion. Let's put the glue compressor on the percussion. I do this quite often. Uh, let's hear it with out it with it. Sounds good. All right. Now let's e que the drums a little bit. Alright for claps, I take out all the low end claps should really only be Ah, mid range toe highs, snares, snares. You can have some low end on. I'm happy with that. It's actually Stewart hard curve at, like 65. That way it doesn't interfere with the low end from the original song and hi hats. Let's check this out. There's a little bit of low in coming in, so let's get rid of that. Go to about 1 23 Let's check the open hand. Yeah, nothing there. Let's check the crash a little bit of low end there, So let's do the same. Negative. 1 2123 Okay, so that's pretty good for me. All right, Save that and let's work on the master. 8. Chapter 6 Mastering & Conclusion: Okay, now we need to put something on the master. Let's go to my plug ins. I have the ozone eight, which is what I use for pretty much all my mastering. And you can find that on spice dot com. I paid for it monthly, and it's definitely a good way to get the plug in. Personally, I like to use the modern master, which is in the all purpose mastering. It's what I use for most things and let's select that equalizer looks good for me. Maybe bring this up a little and the dynamics are fine. Normally, it's perfectly fine for what I need. Ah, and the maximize er. Usually I'll bring it up a little bit. I don't want it toe compress it too much. Now let's see what this sounds like from the beginning. Theme Perfect. It's not really compressing it too much. The threshold at negative three decibels is great. Now let's get into the chorus where there's Mawr action happening and see where we're at their theme. All right, I like that. Let's hear what it sounds like without it Sounds pretty good, but let's add to it definitely better. And let's listen to it without the percussion. All right, now with the percussion. All right. Definitely a huge difference. I hope you guys enjoyed my tutorial. And if you have any further questions, don't hesitate to message me.