Transcripts
1. Introduction: This is part six deejaying and control. We'll start off this section looking at the audio effects, right. How to build really dynamic, powerful audio effects that you have control over with a knob or a fader, or even a key in able to unlock. From there, we'll move on to controllers and talk about the world of controllers, different ones you can get and how to incorporate them into your production, workflow and live performance work. At that point, my Slam Academy colleague James Patrick will be joining us toe Walk through his live performance set up and show what's on his screen when he's playing to a big crab will wrap up this section with some tips and tricks and ideas for you to think about for other performance set up, we can control all of live right from within. This we don't really need Teoh Ever look up at a Bolton if we don't want to? And the l doesn't stand for loop, you might think that means like parameters about the loop. But it doesn't. It opens this launch tab. Okay, so there's a couple things here and we need to look at launch modes and Lo Gatto is something we're gonna look at. So, in building the template, I think the first thing we probably want to do is just make a couple of audio tracks. Could have also put them on multiple chains by dragging them over here. Right? So now Chain One has these two effects filter delay in chorus change to has echo, Let's go ahead and add a folder. Now I like to see these folders as kind of like my deejay record bags.
2. What Are Effect Racks?: All right. So what we're going to do in this class is we're going to This one's gonna work a little bit different than the other able to in classes that I've done. Um, in this one, I'm kind of co teaching a little bit with James Patrick. So when it comes to live performance in deejaying, I do a little bit of live performance. But I don't do what's commonly considered Dejiang, right. But I know able to live real well. So what we're going to do here is, uh, my colleague at Salem Academy, James Patrick is going Teoh walk us through his live deejay set up and leading up to that. Ah, that will be about halfway through the course that'll start. But leading up to that, I'm going to go over a couple techniques that I've been waiting to talk about until this section. Ah, that'll kind of prepare us for, um, looking at his set and how he sets up to perform life. Cool. So the first big thing is audio effect racks or just affect racks we have seen, um, the other kinds of racks. Right. We've seen drum racks. We've seen instrument racks right, so audio effects racks works a lot the same as instrument racks in particular. Drum rex, too. But I think of them as really kind of cousins to instrument racks. Um, if you remember, what we could do with instrument racks is load multiple instruments on different chains and then designed some way of switching between them, right with either a dial or the velocity or something, right? So with effects, that same thing works. But there are some differences in how we control it. And there's a differences in what you can do with it because now you can build these really powerful effects, right? Um, so let's dive into it. So first of all, let's talk about setting up an effects rack. So let's go to a new video and talk about how to set one of these things up.
3. Setting Up Effect Racks: Okay, so there's two ways that we can set up in effect rack. And this is really similar to instrument racks. Um, what's do it? The I guess. Harder. Away. First. Neither of them are particularly hard. But if I throw in audio effects rack onto my track, okay, Comes in here. It's empty audio effects rack from there, let's add a chorus can just drop it right there. Uh, and Eco could drop it there if I want. And ah, Filtered. Really? Sure. That's a lot of delay. So now I put all of these on a single chain. If we open up our chains, which is right here, you can see I made one chain, and just by the way, I drugged them in I put them all in one chain, which is fine. You can put as many effects on a single chain as you want. Could have also put them on multiple chains by dragging them over here. Right. So now chain One has these two effects filter delay in chorus Chane to has echo. Okay. You could do it however you want. We'll talk about the differences between those later. We put them all back on one chain. So chain to I'm gonna delete has nothing. So now I have three effects on chain one. That's cool. That's fine. Um, now, let me show you the other way. Uh, I'm going to leave that, and I'm gonna make the same thing except without Iraq. So filter, DeLay, chorus and echo, I think was the third thing. Okay? And I can move around the order and do whatever I want. Okay, But now we just have three effects, um, on the track. Right. These air. Not in a in a rack. If I want to get them into Iraq very easily, I just have to click shift click to select all of them and then command G now command G might think that's group, right? When we're out here and looking at tracks and I select multiple in command G, that puts them in a group, right. And there's a good reason. It's the same key command. When we're down here and I group something, it puts them in Iraq because Iraq is a group of ah, facts or instruments or drums. Right? So keep that in mind, and that's command G to make that rack um, I can command you again to get out of it. Oops. I actually can't command you to get out of it like a man ji again. I make another rack within that rack. So I'm gonna command Z to undo that. Here we go. So now I'm not in Iraq. So the first question, uh, that you might be asking yourself because a lot of people ask this question is what is the difference in sound between this three effects? Not in a group, not in Iraq. And this the same three effects, the same settings. But now they're in Iraq. The sound difference the what they had actually sounds like from what I just did in Iraq or not in Iraq is nothing. Okay, Right now, it is nothing. However, um, once we get into chains, Mac Rose, um, we'll start seeing where, um, the sound will be wildly different once we start really dialing it in. But just putting something in Iraq doesn't change the sound of it necessarily. Actually, it doesn't. Unless if you put it all in one chain, which is what we just did. Okay, So you got to put it on multiple chains for it to work well, not for it to work. It works just fine. But in order to get some riel power out of the effect, Um, and to take advantage of Iraq, um, you've got to do a little bit more work and let's do that. Now let's go to a new video and let's talk about using multiple chains and something called parallel processing.
4. Parallel Processing: Okay, so let's do this in a different way. Now, this is gonna have a very different sound, right? If I add a new chain so I can control, click, create chain. This is just to create an empty chain. I could also just drag stuff there. Let's put these three effects on three different chains, so I'm just going to drag these down there, Okay? Now I have an effect that has three chains with one effect on each. Okay. And remember, you can put as many effects on a single chain is you want, they don't have to be one effect. So next thing I want to do as I want to rename these, So let's call this one. So we hit command are it's called this filter delay since that's all that's on it. Let go and course. So now I have three chains. Now what's happening here is Well, let me ask the question. Will this sound different than if they were on one chain? That's the question. Um, let's find out. Actually, let's duplicate this track and let's, um, oops with duplicated. And then so I want the same settings. I'm gonna take my echo and put it on the filter delay. Take the chorus and put it on the filter. Delay. I have all three. They're gonna delete these two chains. So now I have the same settings. Everything on one chain. Okay, so let me just turn that off for a second. And here's the clip I have, um So let's hear it through this effect rack. Okay? Just think. Now, let's hear it through this effect rack. Okay? Did they sound the same? No. They sounded different. Um, if for no other. I think there was a lot of subtle differences. But if for no other reason, the most obvious one was this one was louder. Okay, So what's happening? That's different between the single chain and the multiple chain. The answer is that in multiple chains were using what's called parallel processing. So check it out. The audio signal comes in here, right? We've seen this before, and then it goes to Well, let's look at the one with one chain first. So the audio signal comes in here. It goes into this chain, it goes through all our effects and it comes out cool. When we have multiple chains. The audio signal comes in here and here and here it's basically the audio is made into triplicate and processed one at a time by each chain, so it's probably processed in parallel. We call this parallel processing because the streams of audio gets get duplicated right and then pushed through the effect. So if nothing else, we have more volume going into the effect. We have more signal going into each one of these, Uh, and then it all gets put together on the output here. Cool. So that's what's called parallel processing. Ah, Now, also, in effect racks, what we have is the ability to control what's happening. So let's look at the chains here, this chain button here. And so we can't control this based on what midi note we play or what many velocity we play like we could with, um instrument racks. But we can based on, uh, what ah, chain selector knobs doing right. So just like before, can open these up, put these where I want, and then what's really cool as I could do this same as we saw before, could do something like that. And then I can set these two cross fade between those effects. I think about that for a second. We're cross fading between effects in that wild. So here we're gonna have all of the filter delay and then a little bit less than a little bit more of the echo, a little bit less. And then more and more of the echo pull the echo out a little bit up here and then the chorus and all the stuff. Let's hear what this does our into the forest, right? So you could build some really crazy affects this way. Uh, okay, let's look at one of the presets. There's one that's kind of famous, um, for being used all the time. I called the fade to grey presets, so let's look at that one.
5. Fade To Grey: Okay, So if I go into audio effects racks, open it up and look at all my presets. Go to performance in D J. And then one knob fade to grey. This should be default. You should have it. Um, let me delete the racks I just made. I don't need that one, but the lead it, anyways to be safe. Okay, so let's throw this on this track. Now. This is a performance effect, And what we see here is one knob. That's what's kind of cool about this, right? Uh, let's just hear it. Okay. Kind of nothing happens it up. So this is something that you hear people using all the time, this this fade to grey, or like, right out of the box. And, uh, it's great for transitioning into other stuff. Like, you get this, crank it up floor than that. You got that on the launch. Something else, you know, and you can use it as a really easy transition. We'll see more about how that kind of works when we get into James Patrick stuff. So But let's look at what's happening under the hood. Here. We have a single chain. Okay? Nothing too weird there. Let's look at what's on that chain we have and e Q. Three and a Ping Pong delay. Nothing major. But how is all of this being controlled by a single knob? See everything with this green dot means. It's maps to a knob out here that's got to be mapped to this fade one. So gain mid are mid reduction. Our low frequency are high frequency R ping pong feedback are ping pong dry, wet and R ping pong Effect on off, all mapped to this cat. So let me turn this knob and let's see what's happening. Okay, so first of all, let's just look at the eq you. The mid gain is inverse to moving it. OK, so it moves down a little bit as I move the effect all the way up or down, or the nav all the way up or down. The low frequency cut off is almost in line with it. It stops a little bit shy of the top. The high frequency is inverted, so it goes down as I go up. And then on the ping Pong delay, the on off when I met zero. It turns off completely when I met anything other than zero. It turns on. The feedback amount is pretty much in line as well as the dry wet. So this is a hugely complicated effect. It's just two things, but this one knob is doing all this different stuff. So how do you make that? How do you make it? So that some stuff goes down some stuff goes up by different amounts and all that stuff. Um, we're gonna look at this more in just a minute, but I'll tell you that it's this button right here. Map. Okay, Once we hit that, we get all of these settings. And this is where you can really dial this in. In fact, let's look at this. No. Um, so what we can say here is the fade knob on the E. Q three. So right here. Gain mid right here. It's gonna have a minimum range of zero and a maximum range of negative 6.19 That means that it's gonna go down because the max is lower than the men. The frequency, the low frequency is gonna have a minimum of 50 and a maximum of of 2.3 Okay, so it's gonna go up, but not all the way. Frequency high. Ah, the device on for Ping Pong delay. It's minimum is one and maximum 1 27 So that means that if it goes under one, it's gonna turn off feedback 0 to 95 dry weather 0 95 So those are almost, um, unaffected. 0 to 100% would be exact what our nav is doing. So it's not letting it get to the very tiptop. So we're going to see when James Patrick walks us through how he sets up. Ah, big effects chain. Um, how he spends a lot of time in this area really crafting these eso that he kind of has a safety net. He can't go too high. You can't go too low with all of his effects. You'll see how he puts that together when he builds his effects. Okay, enough on that. For now, let's talk about some more performance effects racks.
6. Performance Effect Racks: okay. I just wanted to point out real quick here. When we go to audio effects racks, we have a bunch of different types of effects racks, okay? Extortion, drums, mixing and mastering modulation and rhythmic performance and D J in space. Um, pay particular attention to to the mixing and mastering and performance and D J ones in the performance and d J ones. There's a lot of things that you might enjoy having, um, things like this one knob fade to grey that we just looked at, but also one knob frozen smear instant mix module later re pulsar. Some of these are effects that you could, uh, use as an idea to create your own effects. That would be your own. Like, this is my awesome effect that just makes it Everything sounds awesome, right? The custom, your sound effect, right? Also in mixing and mastering when people master with live, this is a lot of what they use, you know, they might start off with one of these and then start tweaking and working with it. Um, I keep getting asked like hundreds of times to make a mastering course, and I always tell people mastering is more than just having the right plug ins, right? Mastering is like a, um, an ear thing. You need to be really trained to hear things just right. So it's really just not my forte. But if you want to do a quick and cheap mastering, you can throw some of these on and see how it goes. Full chain master is a good place to start. Um, and then you can tweak from there and get it kind of in the ballpark. Um, but remember that hiring a professional, mastering engineer eyes worth your money. Okay, so I just wanted to point out Ah, a couple of things there in the effect rack settings. Now let's move on and talk about controllers.
7. The World Of Controllers: Okay, so when you are setting up to do some performing, you very well may want a controller. Now what a controller is is it's a number of or any number I should say, of buttons and knobs and sliders and stuff. Um, that you can interface with live with, um it's a way to keep your hands off the mouse, um, and keep you into the music more. You know, nothing is less musical than, you know, typing at a keyboard, right? So we use these things to make us really feel like we're in the music and be in the music. Actually, um, these are instruments. You know, these are instruments that you will learn to play. You will learn to master just like other people master other instruments. So controllers doesn't necessarily mean keyboards. If we look at all these controllers, we see a lot of keyboards, right? But there are also some that are not keyboards, you know. I mean, look at this one. This is just a bunch of buttons, ok? And this could very easily mapped alive. Here's one that is a keyboard, but has a bunch of buttons and a bunch of knobs This is a little bit of a weirder one. Um, let's maybe look at when you look at this one, for example, this is a keyboard, but it's also got some pads for you to play. Like you could do drum stuff with that or you could use them to trigger um, and some knobs here. This is one of the most popular ones for performing with able. To him, this is called the A P C 40. Ah, this has a bunch of buttons, you know, that you can use to launch clips Ah, bunch of failures that you can use the control volume of tracks or whatever you want. Ah, and then two banks of eight knobs, right, So those will map right to your rack so you can use those. And then it's got across fader, which will talk about cross Vader's shortly. Um, and this is one that everyone used for years and years. I was the most popular one by a long shot. Now the push controller is kind of outpacing it a little bit. But so, you know, there are tons of different kinds of MIDI controllers. They're not just keyboards. Okay, um, this was a popular one for a while. Just knobs and failures. Um, this is a really tiny one that is kind of popular. Ah, here's a huge one with, like, millions of knobs and people get goofy with these, you know, you can have the weirdest thing. Um, like, here's this is a win controllers that's a little bit different, but it can be just a controller. Bunch of knobs. There's a lot of different options here. Um, now I've talked a little bit about the push controller. This is the push controller. OK, um, and we'll look at the push controller in just a minute. Um, but this is the one controller that's made by a Bilton, and it's really designed to work with able to live. Obviously eso it has a lot of extra functions that nothing else has. It's really powerful tool on, and I'll show you how it works. Just a minute. So keep in mind that we're gonna talk about mapping two controllers in just a minute, and this is what we're talking about. We're not really talking about keyboards stuff. We're talking about all the knobs and failures and stuff. Ah, that are great. toe have for performance so that you're not just locked into your mouse. You know, you can only one thing at a time with the mouse. With these things, you can do multiple things at once, and you can really be in the music. Right? Okay, so let's move on and talk about how to set up one of these buggers if you get one.
8. Connecting Controllers: okay, in order. Really set up a controller. We need to take another trip to our preferences. Let's go back there. We're gonna go in the MIDI tab here, and we're gonna look at our MIDI stuff one more time. Now, you may have realized this, but controllers are set up to work over many. Most of them are USB, but they're still kind of using the MIDI Protocol cases. They're gonna come up here control surface. Here's a list of what my computer either knows or has seen in the past. Okay, So it either sees these things or has seen them in the past and remembering them, we have input and output settings. K. So right now, um, you can see that it knows about thes three things, but on Lee, this one can input because it is the only one currently connected to my computer. Okay, um, and it can also output. These are great out because they're not connected. Their gun. This is a push one. Um, the one I just showed you a picture of with the push to ah in a remote SL classic is it's actually pretty cool controller from Novation that really kind of like, um and it's over on my other desk at the moment. Um, so I have the push to connected right now, so you should see that Come up here and input and output. Now, you should also see it down here. Input. Push to There it is. Um, make sure that remote is turned on. If it's a controller that you might have a midi keyboard. That is also a controller. Okay, so I have my midi keyboard plugged into my quartet here. So the quartet needs to be turned on for track and remote. That means that track means I can play in midi notes on and use it like a keyboard. Ah, and remote means I can use it like a controller. So you can be both remote. Means that our sorry sink means that you can use it to you start and stop the sequence and change the tempo and do some other stuff. Um, I don't actually like having control of that with my controllers because, um, there's more things that can go haywire when you do that. But if you want to be able to do that, you could turn sink on a swell. Okay, So, uh, make sure you're all set up there When you plug in your controller and you're live should just be able to see it as soon as it comes in. And then you're gonna need to turn on whatever you want to turn on here. After that, um, you just need to make sure you set up some good midi map ings. So let's talk about that in the next video.
9. MIDI Mappings: Okay, Um, we just looked at this, but I want to do it one more time. Ah, and go into a little more detail so that when we're in Iraq and effects rack are actually any rack we can do this with, uh, we've got this map button and we get all this stuff. Let's make something new on our own here. Let's go and do an effects rack. Let's throw one on there and let's make Iraq. That's well, not that. Let's do an e Q. Three read UXO. Let's just do those two. Okay? So I'm gonna do those on a single chain. It's not really gonna matter right now. Ah, and I'm gonna assign Let's just try to make, like, a really cool, wild effect. Ah, in order for that to really be wild, let's put a big delay on it so that we can really hear it. Well, put a ping pong Gillian there too. Okay, So here's I'm gonna do, um I'm gonna put my low frequency on map one. My high frequency on macro one. My down sample on macro. Juan is getting really dangerous feedback on macro one and dry wet on macro one. Okay, I was just control. Click put all those things onto one single macro. Okay, so now we can see what's happening there. Okay, so let's rename this. Let's call this big time because things were going to get weird when we turn that up. Uh, too weird. In fact, it's just gonna get out of control when we do this. Uh, let's just here. Actually, that's not terrible. Um, that's out of the house. I was expected. Ah, but let's still craft. It was a little too distorted at the end, right? So let's take control of that a little bit in the map settings. Let's go to map. So here is my big time knob. And here is the device and the parameter and the values. OK, so I se e q three the low. Let's make these make this sweep a little bit better. So let's say my low value here I want to be Let's invert this so my low value is around there. My high value is let's do it around 2000 okay? And we'll leave you. Cue the high frequency alone. Okay, let's just look at what that does for us. So I'm gonna hit map again and turn that up. Que lo comes down as high goes up. Okay, That should make some interesting stuff to go back to mapping, and then let's take. Our reduction is right here, and we're down sampling. So says a range of 1 to 200. Um, I don't want to get that low. I wanted to stop around three. I want the high end to be around. Yeah, let's say 100. Okay, let's look at what that did. Close that. Okay, that goes from 100 to 3, actually. Want that inverted right, cause I wanted to be noisier at the top and noisy in the reduction is around three. So let's invert that one. So it's a 103 okay. And then feedback and dry wet. We'll just crank those up as we go up. So those air fun. Okay, so let's look at what we have now. Okay, Now we have something bit more gnarly, right? Uh, let's hear it. Okay, now, I could tell Read a higher someone that way, But I could be playing around with ever, right? Developed. Really? Or so That's how you make these custom mapping. All right, let's move on. And let's talk about the able to push for a couple videos
10. The Ableton Push Interface: So I have here the able to push this is actually the push to, um this is the newer one that came out last year. Ah, and basically, what we could do with this is See if I can walk around in my mike felt a little bit. We can control all of live right from within this. We don't really need to. Um, ever look up at a Bolton if we don't want to. Right. So you can see here. This is my effect rack that I just made right. All my macros are empty, but big time is here, so it updated with everything, and I can control it here. I can go into the settings for each one of these. So here's the E Q three that's in the Iraq. Here's the reduction. And here's the Ping Pong delay, and I can adjust any of these settings right from within here and or the entire effect rack . And I can launch clips from here if I want to and use this grid for that. But much more interesting is to have instruments on it, so check this out. Um, I can just add an instrument through the um, interface if I want to, or I can throw one in on the software. Either way works. So I just threw a soft where instrument on there and now I have basically, but it's lined up in this really unique way. So the other colored one, the yellowish ones are the octaves, and I have set my route to BC here. So they're showing the seas, right? And then I can just figure out where my notes are from there. So it's really fun to play with. Um, you can really jam out on these things once you get used to how the interface goes. So there's a ton of stuff in the push in the push to I'm not gonna go into every little detail of what's happening here and how to use this. Um, I'll probably make a whole separate course on the push to eventually, but, um, it's a great instruments, really dense, really complex. So Ah, if you get one of these, dive into a learn how to control all of able to end, so you never really even need to look up at your computer, you do. However, I should point out, need to have this connected to a computer running able to live. You never have to look at it. But all the processing and everything is happening in live. Ah, so you can do everything here that you need to, but it's got to be connected alive in order for it to work.
11. Wavetable And Echo On Push: Okay, Well, we're talking about the push. I wanted toe point out a couple things. Um, the interface in the screen area on the push to is really unbelievable. And, um, the new stuff that's in live 10. They've really kind of upped their game on what it looks like on the push to, so check it out. I have here a wave table, right? That's a new one. Um, in live 10 and when I use it, you can really see how just awesome your faces. You could see exactly what your way of table is doing on. You can control the parameters right on the screen. Theo, move the position of the wave table. Theo, it's really cool interface. I can't get over it. I just want to stare at it all day. Also. Really Cool is the echo. I think I threw here. Yeah, um, on this truck, I have the echo now, and the interface is just really just stunning. I mean, it's like, ah, fall. You know, um I don't know. I don't know how to explain it, other than to say it's, like, just kind of beautiful. It's most Aaron. Let's do like a big anyway. It's really fun. Teoh. See how they're really kind of up in their game on this, um, on their interface stuff in the push and you won't find interfaces like this on other devices. This device knows how to talk to able to better than anything else, because it's made by able to write, Um, so it's a great device. It's a bit pricier than any of the other controllers that we've talked about, but, ah, you know where your money if you're looking for something really dynamic toe play around with.
12. What Are Follow Actions: Okay, the next thing I want to talk about, um, in terms of getting ready for a performance and things like that is follow actions. Now, this is something that I love using follow actions in sets. But, um, I don't think James Patrick talks about at this time it all. Ah, he talked about it a lot when we did the live nine class that he also kind of chimed in for these same videos. Um, but here's the follow actions are, um basically what we haven't looked at yet. Is this little l down here? Okay, I'm in an audio clip, and this works for many clips as well. And the l doesn't stand for loop. You might think that means, like, parameters about the loop, but it doesn't. It opens this launch tab. Okay, so there's a couple things here, and we need to look at launch modes and llegado is something we're gonna look at in a little bit, Uh, shortly. First I want to look at follow actions, and that's this section down here. And basically, what this means is what to do when the clip is done. Okay. And by done, that could mean a couple different things. Not necessarily when the clip is over. So let me show you what I mean. If I say here's my drum loop. Okay, so here's what I can do with this Follow actions. It's really fun. So I'm gonna show you, and then I'll walk you through how to do it. I'm gonna select. Uh, I have four different beats here. What you want talk house and in this. Okay, so I'm gonna select all four. Okay, then I'm gonna look at my launch modes. I'm going to say every one bar what we're saying here says bars beats millisecond or 16th notes, bars, beats 16th notes. So every bar Ah, play the next clip every time. Okay, So what that means is, at the end of this first clip, it's gonna move on and play the next one and the end of the next one that's gonna play the next one theme. The next ones already cued up. Next one's cute up, get to the analysts, goes back to the top. That will go on forever. Okay, let's make a little more interesting. Let's say every beat move on to the next one right now. Oops. I got to do that on all of them. For it to work every beat move onto the next one. Right? That's kind of interesting. How about every beat Randomly Go to another one. And if I turn on this llegado, it gets even more interesting. Okay, So, uh, let's go to a new video. Let's talk about llegado and then we'll talk about how I set this whole thing up.
13. Legato Mode: Let's figure out this leg out. Um okay, this is a little hard to explain. So let's say I launch a clip and it's playing through and it's on beat three, okay? And I have it set up so that the next clip is set to launch on beat three of the 1st 1 Okay , Will the next clip start from the beginning or of itself? Or take over from where the other clip was? Meaning the second clip will jump to beat three and continue on. Right? Um, that's what Llegado mo does when it's off. It means started the next beat or start at the beginning of the clip as soon as you launch . Um, that's maybe that's a better way to think about it. When llegado motors off clips will always launch at the start of where they are. Our start of the clip. OK, clips will always launch the start of the clip with Logan remote on, clips will launch wherever we are in the measure. Okay, so if we launch a clip on beat three and we have it set up to be able to launch and beat three, which right now we kind of don't unless we're doing a follow action thing. Um, we have to set this to quarter note. Um, it will take over on beat three. Okay, That's why when I set this up to change every beat, it sounds if I turn, I got a moat off. We're only hearing we're hearing beat one every beat, right? So we're hearing the first beat of all of these clips. If we turn llegado on, we're hearing 23412341 It's randomly choosing, but it's always gonna play the one that to the three or four. Depending on where we are gotten a little bit of a loop that are stuck in a pattern. Okay, so that's what lookout Omo does. Um, I could amp this up even more. What's changed? My follow actions to being every 16th note randomly choose another one to play. Okay. And if we set it on the llegado mode, we're gonna be flying through these clips. That's not extremely interesting. Sometimes that turns out to have kind of fun results. But I'm not with these particular clips have chosen. Okay, so that's what llegado motives. Now let's go into back to follow actions and talk about kind of what these numbers mean and how to set them up
14. Setting Up Follow Actions: Okay, So when you're setting up, follow action here is we need to think about first. Think about if you want. Look out on mode on her off. Okay, then what we're reading here is the first line tells us in how long. Well, what happened? How often? Okay, so these three lines, that could be really confusing. But how to read this? The easiest is in How long will what happened? How often? Okay, so in how long? Let's say, remember, this is bars beats 16th. So every bar, let's get that one. So it's just a single bar or every four bars. If we want, let's say every bar. Well, what happened? We could say nothing. Stop. So if you want a clip to stop playing after it, let's say it's a one bar clip and you wanted to stop playing after four times. This is how you could do it, right? Say after four times. Stop. Um, that's easy. Played again. Play the previous clip, play the next clip, play the first clip on this track, play the last clip on this track, play any clip or play another clip. So these last two are going to randomly choose a clip on the same track. Any clip means it will randomly choose any possible clip, including the one that you're currently on other means it will choose any other clip on the track except the one that you're currently on case it won't repeat. Um, so and then the spotter number think of as a ratio. So if we say every one time, that means every time Ah, switch to it. New clip. So if we said like, um, 100 and one, that would mean out of every 100 times that we get to the end of a bar because this is asking for a bar. So at the end of every 100 times, um, let's actually make easier math and do that 99. So the end of 100 times 99 times do this randomly. Choose one one of those times Stop. Let's just say that So that means that 99% of the time we're going to do this 1% of time. We're gonna do that. Okay, so you kind of set up a ratio here. You could say 50 50 so about half the time do that half the time. Do that. Right. Um so this is a ratio of your probability, The probability ratio, basically, and that's how you set it up. So if you want to do what I just did, I selected multiple tracks and then set it up to be one 00 play other X. I like doing other and then one and zero. You don't even need to set this if this is zero, Um, because that means every time it's going to do this. But if you want to say 2 to 1 meaning half the time, do this and half the time do that, then that's how you could do it. So that's follow actions. They're Superfund.
15. A Little Help From Friend: Okay. So as you guys know, a lot of you know I live more on the production and composition side of electronica music, then the performance side. Although I have done my fair share of performing on, we'll talk about that by the end. Um, the performance that I have done most popularly, I guess, has been super weird. And I'll walk you through my super weird set up, Um, at the end of this stuff, but I really wanted a section that clues us into just really straight up like a D J performance. So, um, I've recruited help from my colleague and buddy ah, James Patrick to walk us through his performance set up when he plays a part of your club or whatever. So in this next batter videos, what we're going to see is he's gonna walk us through this set up and in between some of his videos, I'm going to chime in since a ah, here's a little more explanation on what he just did right to kind of keep us in line with what we've been learning so far. Um, if there's anything that needs more clarification, so we're going to start off in this next video, he's gonna take over, and he's going to start setting up a template for live performance so you can follow along with this video. It's really cool and design yourself a template for performing live with able to left, right? That's what we're doing here. And we'll keep working on this template throughout the rest of this course. So so keep that file, do what he says to do when we make when we save it as a template, and we're gonna keep adding on to it until we're ready to Ah, you know it's stage with it. So without further ado, here's Jane Spectrum.
16. Live 10 DJ template: everyone. James, Patrick here. I'm here to give you a little tour of some techniques that I like to use during my live performance. Um, thanks for being a part of the slam Academy program. Really happy to be sharing some of these tricks with you. So I got able to open up on, and I'm going to go ahead and just actually get rid of all my midi tracks. We're going to start this session off by taking a look at how to set up a session with, ah, that's going to be ready to just throw some content in and play live. Kind of a template that's going to allow us Teoh have our effects ready to go and all of our parts ready to go so we can quickly make new live set content. And, ah, always have fresh material to play for a new gig. Opportunities out there. Um, so in building the template, I think the first thing we probably want to do is just make a couple of audio tracks. Um, I'll call. I'll call them deck a Deck B because we're going to start this off by approaching the live performance set with kind of the easiest, simplest approach, which is kind of a deejay style template. So that's going to require leaning on effects heavily and also leaning on warping heavily and organizing Eclipse, which we'll be covering coming up in this series. So for beyond just having a couple of Dec's, that's obviously that's kind of simple. We also want to I really like to allow for three return tracks. So I'm gonna go ahead and set up hit option Command T here to set myself up with 1/3 return . And I usually use those for primarily time based effects and maybe a little distortion. So maybe get those a little more narrow and the decks I like to have more wide because I can read the track names and track headers on there and see, like, you know, especially with longer sets and could be really nice to be able to read what track names are. So, um, in addition to that, other things that I like to have built into my template are, um, some kind of standard effect devices that happen all the way across the whole board. I'm just going to kind of bust through some effects standards. And then once we do that, we're going to save this session into, ah special kind of template directory that will link up to our places directory. And our browsers will be able to pull up our templates for deejaying or for playing live or recording our band or whatever kind of introduce a little bit of a template format inside here. So in further back, to hear further building our deejay template, let's take a look at some of these standard effect moves Once we have ah, deck A and deck B with a few return tracks set up. Um, lets start by putting a little bit of a safety switch on here. I like to use the utility effect on guy like to go ahead and take the game for that utility effect and drop it down about five or six. Db. Um, I like to do that because when I'm deejaying, especially if I'm doing like drop style mixing where I'm doing chops and quick cuts, I don't wanna have to worry about, you know, going into the Reds, I want to slam those failures up and down with my controller And no, I'm gonna be safe. And so now, by just putting a negative six on their Incan option, dragged that to the other deck. And now we both have both. Those decks can't go into the Reds, even with a nice fat master jam. So on addition to that, I'll even take 1/3 1 of those and put it on my master track itself with that master track. I'll always remember that a lot of clubs are wired in mono, so I'm pretty quick to throw this into mono. If I know I'm playing like I don't know in an outdoor venue with speakers all around outside in the garden or something. You know where I think that spreading the sounds out in stereo field is actually going to kind of not be a lucrative effect. I might wanna even throw the tomato sometimes where I met in a club where the sound might be in stereo but shouldn't be. That's another thing I'll run into. Sometimes we're at a more kind of underground style party or maybe independent style, a level event where maybe they are running in stereo, and maybe they shouldn't because their speakers spread out all over the place where people are walking all around getting drinks at the bar, maybe listening to one speaker at a time. It's nice to remember that the Master, one of these utilities, plays a double role in not only dropping that down a few DB but also being able to switch into mono. I usually leave it off because, of course, I love stereo. But I just remember that as something I like to toggle during sound check, depending on what kind of situation I might be working in now to look outward and just maybe some more fun template opportunities with our audio effects, let's actually build up a little bit of a channel strip for our deejay mixer because this is kind of a deejay mixer. Um, in a sense, we're not really beat matching, but we certainly want to be able to put accuse and filters on our tracks. I'll start off by showing really kind of simple way to use the real basic EQ u three. A classic simple deejay mixer just has gains toe the highs, mids and lows. So I'm gonna hit Command G, as we learned in previous levels to create Iraq and show the Mac Rose and now a really basic deejay EQ. You would have, like high mid and low gain. Now this is something that, to me, is kind of a little too basic. This is just maybe, like a simple e j. Thank you. Cool. Maybe just to make that phone, I'll go and say that there's a very basic thing into my library. And now let's let's explore maybe a more effective way to do that in the grab you Q three grant again. Pardon me. I'm going to go ahead and group it into Iraq again with Command G and show my macros. But this time what? I'm going to tell you something more exciting. I was was a really big fan of the Allen and Heath deejay mixers instead of the pioneer deejay mixers like back in the nineties and two thousands, because one of the things was that then a sweep herbal filter. So instead of needing to just add and subtract gain to the same frequencies over and over Instead, I was able Teoh. Maybe you have one now be a high pass filter and one not be a low pass filter. Well, here I don't maybe even make this, uh, S s. So now I can squeeze down on it with a high pass and low pass. I could even go as far now is since, you know, opening something still at 50 Hertz High pass. I could take that switch that turns that on and off and put that on the same macro. So when you open the filter all the way up, it actually clicks the filter on enough. Now we just need to buy us that of here in our switch settings. So with high pass, I want to have this up 10 low pass. We're gonna wanna have that at 1 26 and 27. Let's test my math here. Click. Now it's on here. No, it's often seek Internet on by clicking it in. That's a really cool trick. So now it's fully passive when it's off. When you have the naps wide open. That's a really neat way to do it. Even better way, though I mean, just cause I'm gonna go ahead and rock this, uh, this is really the way I run my deejay channel strip taking full advantage of able to thrill Yin's out of filter device. Now you'll notice my default preset has the mobile prodigy filter around here and want to keep these in clean mode even when I have those turned off. And now, in this case, I'm just gonna put this into high pass filter mode as my first filter on the 2nd 1 and keeping low pass filter. So again, now I have to auto filters in series one in clean, high pass and one in clean, low pass. I'm gonna shift click on these two together and hit command. She by doing that and showing the macro is now I have this kind of super powerful deejay filter. Remember before when I made that previous rack, I made a macro on one and it That's a great method if you only have to if you're your push user, because the map rose were all in a single row. So now you can grab with your left and right hand and easily have it now. Sometimes you might find yourself instead using an A P C 40 or another different type of controller, where the knobs are a rid of two by four matrix just to show off another technique I really like. Let's go ahead and make up this high pass filter at mackerel five in this low pass filter a macro. Wait, This is a little more ergonomic. If you're working with the hardware device like a controller, that actually just has that has a four by two array of knobs for us is a eight by one. You know, like a big long row. So here I call this high pass this low pass. No, it's a little sweeping filter. It looks pretty powerful. And I can, in this case, just go ahead and put the power switch for the device right on its own. Corresponding macro. So now, by doing that and then, of course, again biasing the parameters here. High pass, we'll talk 10 Well, vast 1 26 If you notice here, it's off until it turns on turns on. In other words, when you open your hands all the way up its passive this to me is the deejay filled Iraq. So I'd probably set this up and consider adding a few other things to it for fun and probably avoid the distortion since it's already playing mastered content as a deejay Iraq , but it might be fun who knows to evoke some LFO? Um, some other things, maybe residents on that note with the high pass filter, I'm usually really careful than that. Have too much residence at all? Because once you bump up, any resonance in this low like 30 40 hurt zone could be really destructive to the mix. Maybe 10 or 13% on the high pass. Whereas the low pass filter you can get a little more aggressive, you give it, you go basic one. All right, so now that we have that in there and it's in our library, let's click on Deck B and just double click on that filter as well. What the hell, Let's go to our master channel in double clicking a swell. So now all three of our main audio tracks have negative 60 B and then a filter out there. So they're pretty much ready to Jim, especially if you look back on the things we learned in our controller is, um, level talking about, uh, macro mapping and all that that can really this. This all goes a really long way when it comes to turning the computer the laptop into, uh, expressive musical device
17. Effect Setup Options: All right, everyone to me again chiming in. Um cool. Right? So we're often running with building a template for live performance. I just want to point out a couple things when you're setting up effects. Uh, remember that there's 100 ways you could do it. So if you have different effects that you like, um, incorporate those, remember that what James Patrick is telling you here is just one way to do it. Um, and you can do it your own way for your own style and all that stuff. So, um, he's not telling you how to deejay. Right? Um, he's telling you how he does it, right? So you can There's other things you can do if you want to do. If that follows your follow your heart. That's what I'm saying. Here. Um great. Okay. So I just wanted to point that out. Um, Now, let's jump to over gonna do another video with me where I'm going to talk about ah spectral effects before we go back to James Patrick, because this whole next section he's gonna dio is on spectral effects
18. Spectral Effects: Okay, So spectral effects. This is something you know, You already know what spectral effects are. We've worked with spectral effects, but it's something that James is gonna talk about quite a bit in just a minute. And so I want to point out what those are, Uh, because it's not lingo that we've really been using very much. Um, spectral effects basically are just effects where we treat different frequency ranges differently. Okay, So if we take in effect, or if we take our signal and we chop it up into the low mids and highs, right actually stated that opposite low mids and highs on, then we put different effects on the low, the mid and the high. Then that's a spectral effect. Okay, so spectral just means that we're gonna chop up the signal a little bit and treat different bands of frequencies differently, um, and put different effects on the high stuff than the low stuff in the mid stuff. And even more than that, if we want to. So just remember that that's what he's talking about. When he talks about spectral effects were going to set up a bunch of them in this next segment with him and you'll see that you pretty much put an e que at the beginning of a chain and say, I only want this frequency range and then in effect, right. So that makes a spectral effect. Um, its frequency combined with the some kind of effect. Okay. With that said, Let's hand it back over to James Patrick.
19. Live 10 Spectral Returns: now for me, I think essential to any live performance, especially a deejay style performance. You're gonna want space and ambience with some reverb. You got all this space. You call it ambience. I call it leave herbs. You know, these air, all appropriate words. You know, I'm the next channel. I really like having delays and dub dub style effects. You know, like slap back Rive herbs and kind of big old cracking filter unity resonator delays. Somebody call this echoes. So reverb and delay is space and echoes. This is just farmers getting creative here and for the last one. Let's go ahead and call this. It's gonna be our distortion effects will have some digital distortion and all that stuff. So I'm gonna give us ah, format here. This is going to turn into a real lab exercise for probably all of you, because this is ah really practical thing you got to spend time with. But I'm gonna introduce now to you, um, essential principle to me in live performance with audio effects, which is parallel effects that are spectral. So if you describe reverb and put it on this return track and turn up, send you're gonna get the reverb on the whole mix. Now turn up your dry, wet mix all the way wet because it's on a return track for sure, because in parallel, keeping you dry here in your wet, fully wet here. But if you turn this send up, you're gonna get reverb on the entire track. And since we're kind of approaching this from a D J situation where we're playing like full mixes sometimes usually don't want reverb on the entire song, it's kind of hack sounding. So instead, what we're gonna do is we're gonna grab the auto filter. We're gonna put the auto filter in front of the reverb and put it in van pass mode by putting that in band pass mode and knowing that it's in parallel when I turn up this send, I'm only hearing reverb coming down on return A. That's passing through this narrow band. So what I'm gonna do them is I'm gonna keep it in Van passed, mounted about, I don't know, 40 or 50% residents. In this case, I'm definitely gonna want to add a little of that distortion a couple db a drive just to give it a little extra grit teeth, and I'm gonna shift click on these together and group them. This is now a spectral reverb and toe. Totally finish this thing off. We don't need this input processing filter on your anymore because we have even more powerful filter right in front. That's all that was doing. Asus Faras The diffusion network. Let's keep some base in there and keep this thing pretty open. Well, it's time to map a few Mac Rose. Well, you know, before we map, the macro is there's one of the things I like to do with the river because I like to have the reflection way down on the pre delay all the way down. Because while pre delay and reflection is great in a general ambient sense, you don't usually want too much rhythmic effect. This returning is just for those swishes and sweeps and nice kind of ambiance, swelling effects that aren't going to cost you have slapping around and rhythmic active, so to get that pre delaying reflection all the way down. Okay, so now we're set with a couple of essential macro map things. Now, for a live performance rack you don't want to go and fill of all eight because you're not going to be performing that until you really practice. When you have that many options, keep it simple. So here's my Here's my suggestion. Filter cut off for the band Pass filter should always be on number one. And what's called that been put off? We'll make that red because that's pretty much the most important job in the whole situation. We'll put it in mapping mode. Now we're gonna turn up the minimum range of that. You can see what's happening down there in the Abdul Filter, and we're gonna put this around 225 to 50. So we're there. So that way, this is kind of dummy proof. Even if I want my reverb to be really dark, it can't get money because I never want mud. And, you know, uh, swab venous Coming down on the river by just one kind of shimmery, crispy stuff to 18 is really, really low. Honestly, we probably a little higher, but no, this look at that that goes, so I will never going to hear anything. So let's go ahead and pull this high range down as well Okay, let's go up to 10. That's super bright. So now you've got this really cool band toe scoop around with for fun. I'd honestly leave it at that. If you want to take it a little bit further, you could have an LFO or some drive much. This method had drive at LFO. Keep that LFO in stereo Maybe nice and slow. Watch this. I've got these two nice little macros right next to me, like, make a similar color that are all associated with that So I could modulate it now and I could distort a 23 db way too much CEO. Just biasing this stuff attenuating these controls. I don't want that much left. Great. This is a really nice actual river. It's to finish it off. I think I'd go ahead and give myself some reverb decay time. And it also really love to play around with this diffusion network low pass filter a little bit. So see how low that thing is. Here we are again needing to buy us this. Let's call this space and we'll call this, uh l p f diffuse low pass filtered effusions blue The color of the sky That's cool. I give him use one of my cool little arrow moves like those arrows you. So now we've got space was biased. Those things, the minimum of other reverb. I'd probably want another good reason to color code these days, so it's easier to see in the list. Let's go with 1/2 a second minimum. 60 seconds is crazy. Let's just leave that in there cause we don't care. And then for low pass filter diffusion, you can see how dark that is down there. Let's go ahead and turn this up. It's good. Target is 3 54 100 Cool. I know this is gonna make that nice. And bright is gonna make that super long. No, we've got this huge river with the tone control a lot of tea. Found some modulation. Stereo. This is a great rack. Let's go ahead. I'm gonna go ahead and call the spectral reverb 2018. Save that indoor library as well. Cool, huh?
20. Live 10 Echo & Distortion: cool. So now I think we should just move on and check up tape the way we're definitely gonna want the coloration on the input. We're definitely want to reverb control here. You can have that be post that sounds good in reverb decay can I will be really good. Things happen the next to, um I'm gonna go ahead and put this echo effect in the mid side. More eggs. I just love that. I mean, unlike thes. Well, I'm gonna go ahead and slow down for the side bands. Let's get 16th notes not have them read. Outed. Just have six straight sixties. They have a dotted quarter note up the middle. That's fun. Alright. Surveillance, Mick, couple macros. We're definitely gonna want feedback in there. Let's go ahead and put dry wet necks on. There's unseen novice feedback when will put river it with UK on the same. So now we have delay with echo Andi space to for space. Right? So these are both part of the new echo effect, so we'll make them the same color Look about. It's gonna be really fun to play with. Watch out for that feedback goes 1 50 That's gonna get really insane. I would probably go ahead and just be smart right away and put limiter on the end. And if I didn't want to use a limited because I wanted somewhere sass I could grab the glue compressor, put it on the end of this thing and keep it in soft clip bone. You're in a makeup game. Maybe squeeze it. Just a touch for a little safety. Now we're gonna be actively having a limiter on them. This is a really nice spectral away through 11 year library as well as you go as you can for I imagine. Let's do the same thing for his return. See, You know, I'm gonna go ahead and say saturate er on your own. But as you can imagine, they're going to get an auto filter in front. Now why? Saturated and erosion? Because it's a nice fat analog and a nice that digital effect. Let's go out and definitely have a little river about the I wasn't concerned about laden. See, I'd probably keep these in high or even used the convolution reverb. But to be perfectly honest with you, I'll keep him in ICO mode cause that ICO Reverb still sounds pretty good, and it's gonna be a lot better on early and see when it comes to turning this into a live set. Let's group these all together again. Put this in van pass mode. Do some of those same exact settings we did before where we go ahead and put frequency on one. Give it some dirt's. It's, um, drive that drive this, Maybe give it some modulation as well. With that modulation in stereo increase, our range are low and range here, pull it down a little as well. Doing good, right and put it on eso I really like keeping my macro is somewhat consistent across all my racks because that allows me to Really, I don't have to look at my computer when I'm playing live. I'm just like using it. You didn't see Jimi Hendrix like what kind of fretboard and wonder What you know is he was he was just playing it. So try and evoke that kind of feeling. So, um, this is another case where we could use soft clip. I'm not a huge fan of that. He was gonna go and just give this a little grab for a little coloration. Give this little this. Get this dry, wet, mixed back. Keep this pretty brave. Go ahead myself. Rose in frequency. He rose in the mountains. Make those yellow color. Actually, we'll call this road. It's who is your tone erosion? You give it some analog distortion, but here's the trick I like to do with analog distortion. Let's put this on four for drive. We're gonna put output gain also on Dr and watch this trick, Do you? Tape number on tape is all the way down. I don't want any saturated drive when tape is all the way down. I don't want any saturated route for the fact, either. So with that tape now of all the way down the saturated, just passive when it turned tape up, let's go upto like I don't know. Let's go crazy 16 TV. Then we're gonna have it when we turn now but had turned up. We'll have it go down. Db but not quite 16. What's ever go down like 30? It's a good like 34 to 3 ratio or 3 to 2, maybe as faras for every three db you drive it, you should pull the output game down to, so that way I don't know. It feels like it's still gets a little louder, But you're not, like, totally going into the Reds. I have. So, Yeah, that's fun. I mean, if you wanted to really go for it, you could totally try some reverb UK time. Another really great thing to dio these kinds of effects is to put a little pump on there, especially if you're doing, like, some dance music stuff. And you know for sure. Okay, this is gonna be a house. He kind of night. I can put some kind of 1/4 note from Take it out of phase. Shave it. Flipped phase of it. Now we did this. This is a nice little pump, Kate. And this one space, more space effect. So you just keep going back to the same themes. Spectral erosion, spectral color. It's got analog distortion in there to save that. In fact, before we do that, let's go ahead and keep our theme spectral coloration. 2018. I like to organize these. Is that going everyone soldiers some spring cleaning and get rid of the ones I don't need. Cool have. All right. So those are some standard effect ideas
21. Crossfader Setup: okay, back to me. That was a long couple videos. So, um, or a long video, I should say, um hopefully you stuck with it. What I want to do next is talk about the cross fader. So we haven't looked at the cross fader yet, and let me just show you how it works. Um, if you go down here to this stuff, this is this is some or show hide buttons, right? This is our Iot section. You know, we can show it or hide it. This is our sends and returns. We can show those air. Hide those. This is our mixer. We can hide it if we want. Down here, we have a track delay option, and this isn't for any kind of effect. Delay. This track delay down here is like to offset attract by a couple of milliseconds to compensate for something weird happening in your audio system. This isn't something you would use till, like at a cool effect of something. Okay, so stay away from that until you really need it. But this bottom one is an ex. This is our cross fader. If we open that up, what we see is a bunch of a babies and then this. Okay, so this is designed to emulate an old school cross fader that was on a mixer, right? So what we can do is we can say this track is a This track is be So now when we're over here, we're only hearing a when we're here, we're only hearing be when we're here. We're hearing both. Okay, Um, that's traditionally how it's done and note that our returns can also be assigned a B. Okay, Um, and then what you would want to do is map this to some controller that you're using so that you haven't. Maybe now what James is going to do is he likes to set everything to a and then all these effects to be. Now what that does. Does that mean he's gonna have a ton of effects coming through here? And if he wants just everything to get super wet, he just has to throw his cross fader over there for a second and get just tons of effects. And it's a cool transition because of the way he has this effect set up, um, he could do that. And then so basically This is a dry wet on across fader that you have quick access to with your hand, depending on what controller you're using, using something like the A P C 40 that actually has a cross fader knob on it says cross Fader. Um, but it's just a makable control, or you could assign it to be a volume of something if you wanted, but that's where the cross fader is. There's a lot of different stuff you can do with it, but this is a kind of a cool way to set it up where you got your effects on B Ah, and your tunes on a But you could also just do a simple A b a B. In this case, these are assigned in nothing. So we won't hear those if we're using the cross fader. Okay, So, uh, back to it. Um, in this next part, James is going to talk about map ings and controllers Eso that should all be pretty comfortable to you at this point. Here we go.
22. Live 10 Crossfader & Organization: all right, We're just about done. But now that we have this all set up, um, couple other basic things I want to do to my template. First of all, don't forget I have across Fader down here really cool thing I like to do because you might think cross Vader A and B and then you're like, cross fading between the tracks. That's cool. That's one way to use it, a way that I really like to use it. I will keep my drop my tracks on and I'll put all my effects on B. So now this is like a global kind of breakdown. Now that kicked this all the way to the right and I don't hear any. I only hear the effects, and if I kick it all the way to the left, I get no effects. It's like a little back girl from my mixer. That's pretty tight. Another thing I can add into my template for this is if I do have sections at certain parts , certain tempos I can totally member. I can name those scenes. So if I know I'm starting off at 89 ppm intro, just put that BPM and the number up there and you'll notice that I have a color coded play flag. So when I launched that, it resets my tempo. That so maybe here is where I'm at glitch op, you know? Now, here I am at 1 24 BPM house. Hear about 1 40 tub stuff? Crap. You know, whatever you're doing, it was 1 40 bpm. Kind of put the BPM in there, and those color coded scenes will pop up from the scene of play flags. And you can actually color code. Seems themselves, if you want for just kind of remember. So they accuse certain elements. Nice, huh? I really like how live tens color coloring works. It's just so vibe dub step. We should go. Something cool. So now we've got some A little bit of a flow chart for seat for a sevens. Well, so this seems like a pretty good start for a template. Let's go ahead and wrap this video up with our final step of doing this. Now, watch. I'm gonna head on over to my projects folder that I have short cut it on my sidebar here, and I'm gonna make a folder called Templates watch you go back over to live, open my browser, head to the bottom here and add folder. And then you bet I'm gonna put templates to that. So I go projects templates open. And now boom. Have my templates right here. So guess what? This is where I'm going to save this session to when I hit Shift Command s your my projects . Templates. I'm gonna throw this deejay template basic 2018. It's gonna be all ready to go there now for Mac users out there. And you can do this on a PC as well. A really cool thing you can dio is open that set up in your finder and go to the A l s get info or command I and then down on the bottom, you can save it to read only boom, No. Any time you reopen that template, you're just like, let's make a new set. Actually, I want a deejay. Open it up. Now we're in that set, and as soon as I make any changes, like grabbing tracks or any changes at all and they hit save, it's gonna force me Teoh, save as and put it and create a new name, so that's pretty slick. Um, keeping all that stuff well organized is wise. And thanks for coming along with this kind of ride. In part, one of configuring able to live is a live performance set. All right, talk soon.
23. Stems: All right, You're back with me again. Ah, One more video from James Patrick coming after up after I'm done talking. And what I wanted to tell you here really quick is just one new vocabulary word that he's going to say in the next section. And that is stems. And you may have encountered this word before. Stems can mean a couple different things, and it depends on kind of the style of music. And John are a little bit, um, what it actually means, but more or less, most of the time it means individual tracks from a tune. So, like the drum track from a tune. So let's say you could get your hands on the vocal stem from the newest Justin Timberlake song. OK, that means you have just the isolated vocal. That's the vocal stem. Let's say you have the guitar tracks from Stairway to Heaven. Um, that means just one audio file with all the guitar stuff and nothing else. So you could see having these files would be really useful because you could throw them into a track and do some live remixing with it. Um, and to be really fun, that stairway to heaven. One, by the way, is out there. If you search the Internet far and wide, you confined the individual tracks for stairway to heaven. Somebody has made those. So you confined stems all over the place or what James is gonna talk about. The next section is using some of your own tracks grabbing some stems like the drum track. The drum part from some track you made putting it in, combining it with, like, the keyboard part from a different track and putting it in in doing like a live remix that way or a mash up however you want. Think about it. Um, that's what stems are. If you dig around the Internet, you can find stems and you could find famous people stems. Some of them are kind of fun to listen to. Okay, so, uh, back to it one last video, and then you'll be back to me for, ah, a couple more things before we wrap up
24. Live 10 Live Remixing: All right, so I'm back and I want to spend a little time with you guys playing around with populating this set. We last left off with me at least building this kind of template for a live performance with some effects returns and some kind of decks and across fader and some scenes and stuff ready to go Now I want to cover how to really, like approach populating this set with some of some of your content. So let's, um, start by doing this. Let's let's head over to, uh, a browser. Let's go ahead and add a folder. Now I like to see these folders as kind of like my deejay record bags. You know, this could be a lot of different things, but in this context, if I add a folder and maybe I pointed Teoh, one of my current projects directories fearsome bounces of my late latest tracks and go ahead and open here and now I have ah, folder for my tunes. I wanted T J cool, so that's easy enough. This is for playing full tracks now, Now let's go out and say, All right, I want to go ahead and grab track I'm take this fragile track. I'm gonna drop it on decades. It's just like loading a record onto a turntable. And now I'm gonna get to demonstrate the deejay warping method. Now, this will be suddenly review from the earlier level, Level two and sequencing and recording when we talk about warping. But this is this workflow is specific to deejay. Now, before I even get into warping and went ahead into the preferences quick and look at my record work lunch tab and point out that digging into this it's really nice to usually have auto warp long samples turned off and also default War morning complex for sure that's going to go ahead and keep us a very nice kind of d. J. I'll grew them for time compression as well as make sure that live is an automatically training. Guess where all the war markers are because I'm not really a believer in letting it do that for you. So, um, work mode is right here. But before I even turn wort mode on, what I'm gonna do is I'm actually gonna do something you may not expecting key map to my tempo of Pardon me to my tap tempo A keyboard message that I'm not using. I'm gonna do this tilled a key way up next to my tab because the track pad has a bunch of late and sees no matter what s EU best off key mapping. And now you just simply launch this track and tap along with it. I think I did pretty good about 87. Let's wait till the beat really grabs and we'll see if I could tap a little better a little fill this thing. A little girl looks like it's about 90. The nice thing about doing that with it unwarranted, is that I'm kind of informing tempo of about what I wanted to play at once. It is warped, but even better yet, when I turn wort mode on, it kind of drops the war markers in at that tempo, meaning that they're already really damn close. Like I mean, check that out. Look at bar nine. It just drops ready and almost perfectly, pretty slick. And so the next thing when using zoom in, I'm gonna go to that first downbeat where I can really hear the beat drop right up to that suggested locator in the 1st 1 control click and set the one This is a work for you've seen before. But now, once I've done that, I can come to zoom out and see that man that was tap tempo and pretty during close. That's what Rose tapping hover up over that and dropping him and take a look and see that Now this segment is 89 beats per minute, so knowing that seeing that whole number is just kind of a quick little tip, but I'm probably pretty good. So I'm gonna zoom way down the waveform and look halfway down the track for another clear kick drum. Given on that on the grid and see how good that's looking, that's just only maybe a tiny bit late. Let's look a little further down before we monkey with anything. Now, to be clear, I'm making sure not DoubleClick ever add any yellow locators, but not in like about. Still, at 89 just pretty much got that thing perfectly. And by not double clicking and putting any locators in another them not going to be warping that sound at all as long as I'm playing it at the right tempo you put this at 89? As long as that matches that, it's unwarranted. And it's playing exactly with perfect cue point. So now the final step I need to do maybe make this thing break this up into some parts. This is where this actually gets really fun. Because I could just drop this. Now I've dragged this play flag back. And here's the song. No. So this is all playing nice play with my effects. I even said early. And like, careful with that echo. Better bias that back in the mapping mode here, huh? 150%. Let's go without him. 17. All right, so this is why you do this. So let's break this clip up. I'm gonna go ahead and just hit. Duplicate. I've been reading this one intro. I'm just command l on this section. Now for this clip. Start right there. If I wanted to play, this is just like a regular deejay. I'd probably just have it start there. Have you had Lupus section that I think is funny or cool? You bring it down. This break down right here. No altering. Move on. Look, now, when I launched this whole this whole track. It's gonna drop the beat. It's going to stay stuck in that section for good. That's one way to do it. I could put this wherever I like. You'll have it. Lupin that section before the like. Second drop No, Duplicate this and call this hell this fragile dropped to right where I want Let's go ahead now with this clip Just loop that last beat section Drop it right off the ground. So I've got some flexibility for moving around in track Some seven of Q points now. So you see where I'm going with this now? I wouldn't have more than three or four clips per track because you don't wanna be launching clips that much. You want to be playing with the effects, so don't get distracted by breaking up. Let the arrangement play. But it can be nice to know here that maybe you could even maybe decide you don't even really like that. Drop to section, you can skip it. So now you're looking just inside of the breakdown. And when you drop drop to its escaping, Maybe this is a track you about on beat court. You just don't like the vocals Now you're doing remix or wait, you're not really doing a remix quite yet. You gotta add under this function. So right now you're just kind of chopping it up into parts. You could be doing a mash up if you started doing that with another track over here on deck . Be That could be cool as well. I think for a real proper remix, invite enough need to have a baby track. Now, look, in this case, I can just go ahead and grab, you know? Wait, you know, now I'm ready to bump. I've gotta push connected to this session. Now, this is now kind of like a hybrid live set or a fully live site if all the way and files on playing are actually truly my own original stuff. So this is maybe potentially another template once we start adding machines and stuff because we're gonna want Teoh, maybe call this like a hybrid live set, and you're probably inevitably, once we're playing a push along side of this, probably have a roads or operators something. There may be some of our favorite contact percussion or drums. Who knows, You know, just this is now introducing kind of the idea of turning your deejay set from a kind of ah D. J. Said into a remix e. Maybe even live performance. True life performance situation. So generally, as I mentioned before, beginning earlier in a previous video, Actually, I like to teach live performance from the beginning, just kind of like from a DJ's perspective, because deejaying is good, clean, healthy fund and also it's that's great for a lot of reasons. But it also is just a fun way toe in a chance to try your own bounces, your rough mixes out, you know, at the party Nixon alongside of tracks that you bought on Beat Porter on iTunes and you're gonna know right away what you need to do differently. You're gonna be like, Wow, my base mix is way too loud because I can really hear that when I'm stacking it up against this amazing song that is mastered and mixed been by a world class artist. So it's I mean, it's gonna be your may be hard on you at first, and then it was for me, but it helped me really realize what kind of compression and mixed levels I needed to really achieve if I wanted to keep the pressure up on mix my own tracks alongside of the best tunes that I moaning. So so on that note, um, I wanted to point something out. We're not just necessarily creating all original new content in this set. We want to actually have a way to accompany these audio tracks with the live instrumentation parts or stems from our holds Are other tracks. Theoretically, we could open of our browser here and just had on over just to our projects folder. And now we have parts we can pull him from our tunes you're some sons were working on. Let's go ahead and pull in the drum machine from a son were actually working on that. We like a lot. I don't need to build a brand new eight a weight of a preset. Go ahead and grab. Squeeze these return treks down a little bit more screen real estate so I can see this one . Use part of the set and I'm gonna open up one of the tracks I'm working on. We'll see. I'm gonna actually go. We open up. Ah, Live 10 version of that set. I'm just gonna grab Maybe this drums track, I'm gonna drag it all the way in here. Just drop it in. Cool thing about this is now this is automatically gonna be clocked properly. With my session here, I've got my drums and maybe my percussion from from another track that I was working on, I think even grab I grab anything. I don't need to use the clips. If I don't want to, I could just use the instruments in the session. I mean, check this out. Just dropped to now. I'm just totally in the next. - Now I'm using my parts like stems and mixing them with parts from other things that could be live instruments or audio parts. Mixing them all again through the same parallel effects is just great way to kind of take all this stuff all together. This is a great way to utilize the browser. Kind of as like, a kind of portal to grab elements from your sessions from previous chickens and pack him on the ones that hell, you can even go into those individual songs and just grab the clips and throw him up into the user library as well. That's totally legit. So I think it's a really good idea to utilize the places directory here for your own original bounces your deejay bag for things that you bought, if you're gonna do use live, is a deejay tool, as well as using the browser as a way to grab parts of your own original tracks and stems. And everything is rippling on into this session. Remember to keep things organized. You know. Nice thing about live tens. You can have groups within groups. It's a group that up and call this change in rooms, changing parts. Hold that up that's now available to you later. So there's a lot to be said for the flexibility of live 10 a live performance configuration situation. Help you end up taking advantage of that.
25. More To Explore: All right, everyone. I hope you really enjoyed that and got a lot out of it. Um, in the sex it'll chunk, I just want to talk to you about a couple others things and talk about kind of different styles. Um, there's a lot of different styles to this obviously and 100,000 different ways. You could approach Dejiang. We saw the way JP does it. Um, James Patrick, I should say, um, I thought I'd throw you in. Ah, throw in a couple more videos. These aren't my videos, so I can't, like, embed them in here. Something's gonna give you the links to these videos of two mawr. Interesting kind of ways of doing this. So, um, the 1st 1 is, this is this guy named Mold over. Check him out. He's really interesting. His kind of approach is basically the to design or by ah, controller. Like what we've looked at, we've looked at the a p c 40. He's using a different controller here, and he's modified it a little bit. And then to do some like, um, really intricate ah performances on that controller so that the controller becomes much more of an instrument than anything else. He likes to call it control or ism, which is a term that's kind of around, Sort of. Um so check out this. He's got this long video kind of walking through how he sets everything up. Um, and I will throw the link on the screen right now. Another one to check out would be, um, just maybe this is a little bit different, but I think it's worth you knowing about and seeing someone do it. Ah, this is this guy, kid. Beyond he's got this. He's beat boxer. Ah, and this is kind of an older and green year video. But he's got this video online showing how he uses Able Tin for live performance in beat boxing, mostly using a foot controller to control a Bolton. Ah, and then some of the looper functions and just recording into the clip slot grid. So check those out. Um, also So I'm gonna put that link up on the screen right about now and then also. Ah, there's this great kind of walk through if you're up for something to read. Ah, this is just like a intro to how to start deejaying put out by our friends D J Tech tools up. Throw this link on the screen. Also, um, this is really step by step. Um, if any part of this class kind of left you in the dust with maybe things that we covered in other classes and things like that, Like warping we didn't talk about in this class, But there was a whole other class that I made devoted to warping. Um, but if you want to just not take that other class of mine, I think you should, because it's pretty great, but, ah, if you just want to get all up to speed. Ah, by reading this, you can do that, too. Ah, and this is gonna walk you through, you know, kind of everything you need to dio it's actually too. Ah, articles, long. So be sure and follow that all the way through. So those were just a couple other ideas. Couple different styles. Couple different thoughts on 100. Do this things to check out. Um, you've got to kind of always be studying. You know what other people are doing and learning from other people as you go. Um, all right. One more thing. I think I'm gonna show you kind of my set up in the next video because it's a whole other style kind of a thing. Ah, and then we'll go from there.
26. My Performance Setup: Okay. Last thing I thought I would show you guys is is the kind of weird performance set up that I used for a long time. I've kind of semi retired it for now. I haven't used it in a little while in a year or two, but maybe someday it'll come out again. But, um, it was a way that I performed using a Bolton and some other stuff that, um it got me a lot of attention for a long time. It was kind of my meal ticket for a while. Um, I was kind of going all over the world doing it, um, so I thought I'd show it to you. I've got a couple of videos that I had made for other purposes along the way. Ah, and I'm just going to kind of edit some of those together to show you what it waas and basically long story short is I built a set of gloves that would that had sensors all over them and would let me control able to in just using these gloves so I would wear them. And that, combined with the foot pedal, actually would let me do everything I needed to do. Um, Teoh launch clips, trigger effects control effects control, volume of clips panning depending on what I was doing with the foot pedal and what I was doing with my hands. So it's gotten a strange it's It's like the nerdiest thing that's that I've ever done, which is saying a lot because I do a lot of dirty things. But here is Ah, here's some stuff kind of walking through what it looked like. It was fun. It was cool. I still have him. I shouldn't talk about it in the past tense there, like right next to me. But, um, check it out On top of it, I like to keep my laptop is far away from me as possible so that I don't look like I'm playing a lot. It feels like you know a lot that's there, but it feels like I have this theory that winning performing a laptop there are people that have been amazingly well, but a lot of time it looks like people see if anything, I said it a laptop all day in my office, like No, I paid to come see someone that they're on top. That's not very interesting, so I try to keep the kind of far away so I can still see what's going on. But it's not the main thing that lives here. One is for my right and left hand and planes any time it gets any day, any time I move any finger doing anything, the writer left one book that just tells me everything's work we're getting. I plug in inside here. There's three serial cables. This is so inside here. What we have is this is the main guts. Obviously, um, it's not as gnarly as it looks. We have the influence coming in here from the two gloves they go in. Basically, this is called a T. Leo. It's kind of like a pre programs microchip. Basically, it's called Michael Controller, and it basically just takes in the raw data off the sensors in the gloves and converts it to a USB signal computer. Understand? And then I can map it software to do other stuff. So I have some resisters on here. I've helps smooth out some of the data, so this converts it to USB, sends it to this, which sends out the USB signal. Um I also over here this controls the accelerometers, which are these? It's all rounders. Are things that better tell for your iPhone your remote? This is what they actually look like. This little black thing is the actual till around the green board that it's on is only designed for people that can't sought are really, really, really small things like that. They have actually made a wireless version that uses and that runoff. What's a coffin? I can't battery kind of explode. All right, and side effects about the wireless version is that they don't work as well. They work with better there newer than this, but for performing, they don't work as well, because when people don't see wires, they don't see you attached to your lap. They don't get What I'm doing is fast. They spend more time thinking he's waving his fingers, kind of waving his arms, and there's me that happening. But if they see me like Heather in computer, it makes more sense. So the wires are kind of central outside the main mix to the house panels of whatever's pre recorded in the sequence, I mean, makes to the house of just what my gloves are doing, not mixing the sequence. I sent separate channels because, um, sound sound. Guys don't like it. They get freaked out. When there's electronic sounds happening, they don't know where they're coming from. Sound that. It just makes everyone happier if I keep them separate from me. And I sent them four channels, two of them. The makes of anything pre recorded two of what I'm actually doing. They can put it together easier than the old, that sound that's popping out. And it's just a like so there's a lot of weird little psychological tricks. You can get him really easily, and there's tons, different kinds. These air called flex centuries, and they just register. How much there, Ben and they send it data that says No, I'm Ben this much much, and that's all they do. They're really simple. They're What's funny about him is that there are a lot like guitar strings to kind of compare because they wear out so you can see that On the whole, it's a piece of plastic that wants to be straight. So if you bend, it says, I've been that much how much it wants to put back up. Um, but after you do that long enough, they start to group. And so you have to replace. Have cut him off. Resulted on anyone. That's it. They were developed by NASA control robotic things in space. Now you can get them at any hobbyist electronics store. So in each glove I have, I basically have a tip sewn on or they were So now before they're abused for a long time, and then an extra glove that cut the fingers off to wrap around toe. Hold it in place. That's what these two have. This one's kind of ripped up a little bit and this one's duct eight to go. Not so they work. So, um, there's little Velcro strip here. That's so no, that's where I put the eggs. Allrounders using. There's Velcro on the back, Um, and on this man, I had a interesting experience lately where I was doing some gigs where I had to start playing guitar at the same time. What kind of questions? Like whether or not I could play guitar with. And it turned out to be really surprising that I could. It was no big deal, and I looked at all to play guitar with the kind of good was like conflict. The problem waas I could not hold on my right just kept flying on my so I sort of piece of Velcro on this finger on that covered all my pics and build so I can play. And then I could just, like, tap down and grab a pick. And we're going to use my just like that. That's why there's a big part of so I could see on the screen we're looking at right here. So left hand right hand, um, see my fingers moving. And then here is my pedals. This is just a little graphic display of the pedals There, there, you can see him. So I just I'm sending these air mass to me. This has kind of okay, so So here's live older version of life because it's working. That's the way to do it. And what I said before about each finger, Matthew Sound and basically the way I always do it just for my own sanity is organized. All the sounds loaded hot starting over here as if I was sitting in a just the easiest way to think So So all the kicks are here. All the kicks are basically these three, and these are all snares and take, and that's how they work. So any questions? It's surprisingly, not hard to build something like this. And now all that hardware software. It's really, um it's really fun to do this whole set up aside from the laptop and this, all the glove stuff is cost about 150 bucks to build. So it's pretty reasonable to do, Um, and you just got no screw some stuff together. We gotta know how to slaughter. Kind of sort of, well.
27. What Next: All right, We have reached the end of the deejay section and performance and controllers and all that good stuff. What comes next? There is still more. Um, the thing you don't know anything about yet. Probably, but need to know is about Max for live. This is over here. Right there, Max, for live. This is we have danced around and avoided this thing for the entire six videos or six classes, and it's time for you to learn it. So there's a whole separate class on Max for live that's here, and you should check it out. Let me tell you what it is, Max relies is an entire programming language built into life. Okay, um, I've been actually using Max for live longer than I've been using. Live. Okay. Before There was Max for live. There was Max just on its own. And it was a programming language that let you build audio and video stuff. Um, so I've been using it for a really long time. It's super fun. It's not that hard to learn. If you're, like, intimidated by programming languages, then, um don't worry. This one is really easy. It's like basically connecting boxes It's like Legos, right? So we're gonna say, Here's my input signal. Here's a delay line. Um, and here's like the weather in China control my delay line boom, you know, and then you can make these crazy effects that nobody else has. That's the most powerful thing about Max for live is that you can build something that nobody has, And so people will come to you and be like, How do you get that crazy sound? And you relax? I don't know. That's my secret. Um, because you have designed the effect yourself and nobody else has it, or you could be nice and share it with people. So you've got to learn Max for life. Um, it is incredibly power full, and it is incredibly fun. So please continue on, um and ah, depending on what side you're on, dig around. Find that Max for live class, it's here. And, uh, it'll change your life. I promise.
28. Thanks Bye: All right, We have now reached the end of ultimate Mableton. Live part 10 class six, Um, deejaying controllers, you are now officially awesome at live. If you're comfortable with everything we covered, you know, live super. Well, at this point, um, you still need to learn Max for life, but, uh, others in that, you know, live really well. So thanks for hanging out. Thanks for being a part of this class. Um, And for being part of our online community, please check out more classes. Tell your friends about these awesome classes and we will see you in the next class. Thanks for being a part of it, and we'll see you soon.
29. SkillshareFinalLectureV2 (2): Hey, everyone want to learn more about what I'm up to? You can sign up for my email list here, and if you do that, I'll let you know about when new courses are released and when I make additions or changes to courses you're already enrolled in. Also check out on this site. I post a lot of stuff there and I check into it every day. So please come hang out with me and one of those two places or both, and we'll see you there.
Jason Allen, PhD, Ableton Certified Trainer
