Ultimate Ableton Live 9: Part 6 - DJ Techniques & Controllers | Jason Allen | Skillshare

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Ultimate Ableton Live 9: Part 6 - DJ Techniques & Controllers

teacher avatar Jason Allen, Music Producer, Composer, PhD, Professor

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      What Are Effect Racks


    • 3.

      Setting Up Audio Effect Rack


    • 4.

      Parallell Processing


    • 5.

      Fade To Grey


    • 6.

      Performance Racks


    • 7.

      Controllers Overview


    • 8.

      Connecting Controllers


    • 9.

      MIDI Mapping


    • 10.

      Push Interface


    • 11.

      Follow Actions Overview


    • 12.

      Follow Actions Setup


    • 13.

      Help From Friend


    • 14.

      Legato Launch Modes


    • 15.

      Ableton Performance Series Clips


    • 16.

      Effects Setup


    • 17.

      Ableton Performance Series Effects


    • 18.

      Crossfader Setup


    • 19.

      Ableton Performance Series Controllers


    • 20.

      More To Check Out


    • 21.

      Glove Stuff


    • 22.

      We Interrupt This Class...


    • 23.

      Thanks Bye


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About This Class

For years I've been teaching Ableton Live in the college classroom. As a University Professor, my classes are sought after, and, frankly, expensive. I believe Ableton Live can be learned by anyone, and cost shouldn't be a barrier. This class uses the same outline and syllabus I've used in my college classes for years, at a fraction of the cost.

This is Part 6: DJ Techniques & Controllers

In this class, we are going to focus on using Ableton Live for DJing and Performing. I'm assuming that you already know your way around Ableton Live pretty well, and now you want to take your techniques to the stage. In this class, I'll walk you through all the basics of using controllers, Audio Effect Racks, and some other tricks.

Also in the class, I have a really special surprise. I've invited my friend James Patrick to show some of his techniques as well. James is a DJ that has toured the world and is known internationally for his engaging performances. He is going to be IN this class and has contributed several exclusive videos for this class.

Topics include:

  • Audio Effect Racks
  • Using Effect Rack Presets
  • Building our own Effect Racks
  • Parallel Processing
  • Fade To Grey
  • Performance Racks
  • Controllers and Controllerism
  • MIDI Mapping
  • The Ableton Push Interface
  • The APC40 Interface
  • Follow Actions
  • Legato Mode
  • Launch Modes
  • Launching Clips in Performance
  • Effects Setup for Performance
  • The Crossfader
  • Mapping Controllers for Performance
  • ... And much more!!!

I will be making 6 (six!) complete classes in order to bring you the most comprehensive manual on Ableton Live production techniques ever created. Each class has Sets, sessions, and experiments for you to try on your own and follow along with.

J. Anthony Allen is an Ableton Certified Trainer and a Ph.D. in Music Composition and master of Electronic Sounds. His music has been heard internationally in film, radio, video games, and industrial sound, as well as the concert hall and theater.

He currently is a professor atĀ Augsburg University and the CEO of Slam Academy in Minneapolis.

Praise for other classes by J. Anthony Allen:

  • "I've had Live Lite for a while but never quite understood how to use it because of the different options in how to arrange audio. This course explains exactly how to do that and get the most out of Live."
  • "Great overview - I would start here for sure if you are just getting your feet wet with Live. clear and to the point. session walkthroughs are great. looking forward to more"

  • "I have never had any formal training in music at all. Trying to learn all the notes and how everything translated was a serious challenge. After going through this class, Dr. J has totally brought down the barriers. The content was very useful and was easy to grasp for me."

Meet Your Teacher

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Jason Allen

Music Producer, Composer, PhD, Professor


J. Anthony Allen has worn the hats of composer, producer, songwriter, engineer, sound designer, DJ, remix artist, multi-media artist, performer, inventor, and entrepreneur. Allen is a versatile creator whose diverse project experience ranges from works written for the Minnesota Orchestra to pieces developed for film, TV, and radio. An innovator in the field of electronic performance, Allen performs on a set of "glove" controllers, which he has designed, built, and programmed by himself. When he's not working as a solo artist, Allen is a serial collaborator. His primary collaborative vehicle is the group Ballet Mech, for which Allen is one of three producers.

In 2014, Allen was a semi-finalist for the Grammy Foundation's Music Educator of the Year.

J. Anthony Allen teaches... See full profile

Level: Intermediate

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1. Intro: - then what happens here is that it is. The signal is duplicated in my case, four times in Iraq that we like. And this is, in my case, more common. So for me, let's say I made around. It's really familiar. This is basically a clip slot grid where you can hit button record on that riff real quick . Wait till the one Here we go. When will the clip launch again? So clicking it again doesn't really do anything because it's looping. But the holding command thing is really helpful for a lot of reasons, especially because let's say I have a situation going for all the clip cross turn tracks is when I'm playing a gig. I never want to look at the screen. I never want to give him there and be like, Oh, what did I do wrong there? What track of my own? I just want to know. The first macro is the tone of my effects, and usually the lower right one is like the compression in saturation 2. What Are Effect Racks: All right. Up next is audio effect rack. And this is the only thing in our list that we haven't looked at yet. Right. Is this guy up here? So, um, let's talk about effects racks. What are they? So we've looked at instrument racks, right? We've looked at many effect racks, and we've looked at drum racks. So our fourth and final type of rack is an audio effect rack. And I have to say, these are my favorite, maybe instrument rack, Um, is similarly as powerful. Um, but audio effects racks are where things can just get really wild really fast. So we know what racks are, right. I can make one, and we see an empty shell here. I can also use one these presets. We're gonna look at some of these presets later, but, um, just to point out here, these are great for mixing and mastering. They're also great for performance and deejaying, which we're gonna look at Ah, in the next chunk after this chunk, we're gonna look at some deejay techniques and things soon, so hold on to that for a minute. But remember that with an effect rack, just like everything else Here's what we can do it that we can say we can put stuff in it and we can control it in different ways. So let's put something really obvious. Let's do a simple delay. Ah, and an overdrive and a green delay. Can I have three effects back to back now, If these were not in Iraq, they would sound exactly the same. Ah, as they would right now, Right, Because I'm just running it in there. But remember, I have control over here with these chains settings, so this works just the same. So there's my three things I could make another chain. I'm gonna go through how to do this in more detail in just a minute. So now I'm gonna move that grain delay onto a separate chain. So now this first chain has a simple delay in overdrive. Second chain has grain delay, and I can say which chain do we want to hear? So in the next video, going to go into how to set all this up, so I'm just kind of blazing through it right now. The main and most important thing about effects racks is a thing called parallel processing . We've seen this before and some of the other kinds of racks. But I haven't pointed it out as explicitly because it's way more, not more important, but it's more valuable to us in the effect rack thing. So I'm going to devote a whole video just explaining parallel processing because it can be a little confusing. So remember that with racks, we have combined effects. Weaken, build, Ah, big effects by hooking a lot of things together and then controlling how it gets turned on and off and to end all of the settings. Um, and we have this thing called parallel processing. So let's jump in and talk about building an effect rack, and then we'll go through those other elements as they come up. So here we go. 3. Setting Up Audio Effect Rack: Okay, so let's build ourselves in effect, rack. So I have one of my tracks on here, okay? And actually, now that I think about it, I'm gonna move our loop back to here because this is just a piano thing. So I want to hear this piano thing. Eso that Aiken really more clearly Hear what Iraq is doing so well. Okay, so that's a riff. So we've got no effects on it. Now, let's make ourselves in effect rack. Now, remember, just like the other kinds of racks, there are two ways we can make Iraq. We can either make Iraq from the audio effect, Rak Ah, effect here. And then we can put stuff in it by just dragging it down. Um, we can make another chain and then add stuff to it, or if we have an effect that we like and this is, in my case, more common. So for me, let's say I made Iraq or I made an effect that I liked by saying overdrive ping pong, delay and some river. Okay, um, I'm gonna let seem like that for now. So now we have three effects were not in in effect, rack right now. Okay, so let's just dial is in okay. It's pretty cool. I'm happy with that. So let's say that's Myra. My effect. Now let's say I like this. This is cool. But I wish I was hearing, um, Mawr of the loath, right? Like, let's try to get more low end back there. And so I need an e que But I really only want to do stuff to the low end. Um, what I could do in that case is turned this into Iraq. So I'm gonna select all three of these. That was just a shift click maneuver I just did there. So I click the 1st 1 shift click the last one not selected all three of them just by clicking on that top bar command G. Okay, now they're in Iraq now, the sound is the same. But what I've added is the ability to add chains of stuff. So all three of those things went into this first chain. Now, what I could do here is I could just add another chain. So, control, click in this drop audio effects here thing and say another chain. Now I have a chain with my overdrive, ping pong, delay and reverb. And I have a chain that's empty. Right? So that could be enough. Almost right, because now I basically have dry wet between the two, and I can control that Here. This'll has nothing. So if I turn the volume of this one up in this one down, my effect is much more subtle. So that could be all I need. But let's get a little fancier with it. Right. Um, now, remember, in the other things, we have different ways of selecting which chain we were going to be working with, right and in effect, racks. We really only have one. And it's this chain button and it's gonna be the chain selector. So we have to map this knob to something. This this Ah, orange bar to something. So what we can do? Yes, we can pull this out. Remember, this is the range of the effect, so we can pull this out, and then we can grab the tiny bar on top. Remember, each of these bars has two bars, the big one and then the teeny tiny one on top. If I mouse over that and grab it and do this. Pull that back to the opposite with this one. Now I'm gonna be cross fading between those effects, right? So when I'm on the top, let's rename these. Let's say this is big effect. Command are big effect. And let's call this one dry. Now I'm gonna be cross fading between them based on where this orange bar is. So I'm all the way big effect here. If I want less of it, I just cross fade to the way. Right. So, um, that's a good start. Now let's go back to this dry and let's look at what's here. Let's add something to our dry. Let's maybe add, um, and e Q. Eight to the dry. Now, if I just double clicked on the EQ, you ate while this track was selected, put it outside of the rack. So let's just drag it in there, and I just drug it onto the dry chain because I was the one selected. Sounds dry. Now Let's just boost are low and a little bit here. It's actually I'm gonna turn off all bands except the bottom one and give myself ah, good low pass filter here because I want just low stuff in this bottom one. Okay, Now let's see what we've got Way just low stuff to stay with me here. We're gonna make this interesting in just a minute. Um, let's had another effect. Let's add another chain. Right. Um, Control click. Oops. Create Jane. We can have three change. We have as many chances we want. Um, let's add Let's add a beat. Repeat to this chain. So this chain down here is gonna be Let's call this glitch and let's make this the upper end on Lee and we'll have it fade in also. So when my chain selector is up here, I'm gonna be hearing just low stuff And I'm also going to be hearing, Ah, it's going to start glitch ing out. So let's set our beat Repeat to something like this. Like that. Let's crank that all the way up. Um, did you do Let's do 16th note and let's just audition that. So I'm gonna solo that chain, make sure my chain selectors upto where it's gonna be fully on. Let's just hear that stick a very much way. Oh, okay. So I've got that beat Repeat tuned in to do a little bit. Good to think. Now I'm going to do one more thing to this, and it requires the use of macros. So now I'm just building a kind of random effect here that I think is going to sound kind of interesting. So let's go back to our dry signal, which is no longer dry. So let's rename that and call that a que, um What I want to happen is, as I move this up, I want this filter to follow me up. Right. So I want this filter to move up the same time that I move this up. Okay, so for that, I'm going to use a macro, so I'm gonna expose my macro is here with this button over here. So here's I Makris. So first thing I need to do is map my chain selector to a macro. So let's go, Macro one. Okay, now, this is going to control that. So I moved this and we see the chance Electra moving. Okay. Nice and easy. Now let's set my frequency also to the chain selector knob. What? Right. Watch this. Now, when I move the chain selector, the frequency also moves. So let's walk through what's gonna happen now when this is down when the chain selector is down? When this one knob this knob, it's gonna basically be my total effect knob. When it's down, we're just gonna hear this big washy piano sound right When it's as it gets higher, we're going to start to hear more and more of this eq u. But the e que is going to be pushing up. It's gonna be like opening and washing forward at the same time. That sound is going to start glitch in out, Right. So let's just see what we've got. Um and I'm going to do I'm gonna turn my loop off of my eq you Because what I want to dio is I want to use this effect to build right into here where the beat comes in. Let's try it. Oops. I still have my glitch soloed kids from that off, and it turned my main effects. Now, Booth, that was great. Except I didn't have one thing in there. What I really wanted was to be able to slam that thing down and have everything be off, right. So here's what I'm gonna do. I'm going to nudge these forward by just one. Right? So I just none of these forward. So that there, over by one now I'm going to make one more chain and this one I'm gonna again called dry. And it is just right there. That's it. So this way were totally dry when this is at zero. So that way, when I crank it all the way up, then Aiken slam it down and we're dry again when the beat comes in. So now that I've got a dry chain, let's try that again. So I need to set this at not dry way. Okay, not bad. I missed the bottom when I did it cause I'm using my mouse. If I wasn't using my mouse and I was using an actual knob, that would have been a lot better. Um, and we're gonna talk about mapping this to a knob shortly so that I can actually have a dial to control it with on my keyboard. But I have a pretty cool effect here. So let's say I'm happy with this effect and let's save it. And so I hit the save button. It shows up here in our audio effects presets. And what do we call it? Let's call it, um, glitchy filter sweep. So there it is. Now, if I go to my audio effects audio effects racks, Gucci filter, sweet. There it is. So now, no matter what I'm doing, I can throw Gucci filter sweep on something, cause I've saved it as a preset. So there we go. Our main stuff to building an audio effects rack. Right. You can build insane effects this way, and you can do all this stuff. You know, we've got eight knobs to work with here. Um, and what I did was I mapped to important parameters to the same one which let me do this thing. And so what I can do here is I can rename this macro and call it effect if I want. So this is all my effect. I don't have to worry about anything else. I can hide everything else. So I'm only looking at this and just say, like, this is my awesome knob, and it's gonna make everything awesome. We're gonna look at another one of those shortly. So there you go. Um, the basics of setting up an effect wreck an audio effect rack 4. Parallell Processing: Now let's talk about this parallel processing thing a little bit. Um, What that means is basically that's why this works is because we're using parallel processing. So check it out. This is what that means. Let me hide my macros for a minute here. So I'm playing this track, right? Let's follow the signal path because that's what this is all about. It's parallel processing is this signal path. So the audio goes to my fader here to my mix. Then it comes in here to my channel, right. We see it coming in there. Then what happens here is that it is. The signal is duplicated in my case four times, right. It's not that 1/4 of the signal goes here. 1/4 of the signal goes here. 1/4 here and 1/4 here. It's that the full signal goes here. It's duplicated. The full signal goes there. It's duplicated. The full signal goes there. It's duplicated in the full signal goes there. That's parallel processing. All of these are processed as the entire signal and then a run through my effect. And then they're summed, meaning like put back together over here. So right now, we see on Lee. This one has signal because it's the only one on. But as we move our any my macro back hair as we move this now, signals are going into those two as we get up top. Now, they're all the way at the bottom. Turn on my glitch up there and we see full signal coming into all three of these right there. Right? So that's parallel processing. It's the ability to process all, uh, chains all the full signal through all chains. No. What is the danger of that? And why do you need to know about it? The danger is, um, were using more CPU when we do that. So if you design a huge, huge drac, um, you could be using a lot more CPU than you want to be using on one track. It's not usually a concern, though, Um, with you know, maybe ah, on a computer. Five years ago, it was something we'd have to really worry about. But, you know, I'm I'm using right now a Mac book air. And well, actually, now that I look up in the corner and my CPU load, check this out. Let's focus in on that real quick. So, um, when I turn off this effect rack, you know, I'm sending out about 1% which is nice and healthy is all I have up here. Is this one track and this? Ah, audio effect track. I'm gonna turn it on. Okay. Still sitting at 1%. I'm gonna play it. We're jumping up, Teoh. 11 12 13%. That's pretty big. Um, Now, also, keep in mind I have on here I could lighten the load by. I have this complex pro as my warp setting. I could turn that down. This isn't gonna sound is good for this kind of a track, but let's just see what it does or CPU. See, now we're only up around five and six, so that's much better. But that's still relatively high for just playing one track through one effect, right? So these effects racks can eat up your computers processing power. And all that really means is that if you're gonna walk out on stage and you're going to use one of these, which is very common, be a little careful about the ones that you use and make sure they're put together in ways that are gonna be not terribly huge on your CPU load. So watch out for that. Keep an eye on your CPU load once you start building big. Affect cracks because parallel processing. 5. Fade To Grey: Okay, We're going to talk more about ah, deejay tools shortly. Um, but I wanted to point out this one affects rack. This is You have this one. This is a preset. If you go to audio. Foot cracks performance in D. J one knob fade to grey. This is just one that I hear people using all of the time. So here's a good use for it. I'm going to throw in another track here. Let's do, um, something that starts off the kind of aggressive, which is not a lot of my tunes. That'll do. So I'm gonna throw this one on and throw it on another track just for fun. Okay, so I'm gonna go into my tracking, gonna jump to the end of my track. Okay? Let's say my track ends right here and what we're gonna use this tool for you can use this a lot different ways, But what we're going to use this effect rack for is as a transition. So what it does is it has one knob. It's a one knob effect. It's a one chain effect. There's only one chain here, and all it is is an E Q three and a ping Pong DeLay and one up. So watch what happens when I move. This not first thing that happens is it turns on Ping Pong delay. So it's off when it's all the way down, and then it starts adjusting my low frequency. It starts pushing up my high frequency. It starts pulling down, right? My feedback. It pushes up and my dry wet of the delay it pushes up. Also my mid gain. It pulls down just a touch Right now. This is worth noting, because how is this one going up? All this one's going down and this one's going down, but only a little bit. The way that set up is in this map setting so I can go to map here and I can see the ranges . So on the fade macro, the E Q. Three, the device, the parameter, the mid gain here is going to go from a maximum. So when this knob is all the way up, this is gonna be at zero when it's all the way down our sorry other way around, when it's all the way down, this is going to get zero when it's all the way up. This is gonna be at negative 6.9. So that's a lower number than zero. Because it's negative. So that means it's gonna go down. Frequency Low is gonna go from 50 to ah, 2.3 kilohertz. So that's up by a lot. Um, this one 18 kilohertz to 2.8 kilohertz. So that's down by a lot. Right? So this is how you consent the different, um, parameters. So you can adjust that all day long to do these. Like mapping is where one thing goes up on the other thing, goes down and do a lot of complicated things. That way, it's really fun. So what this is gonna dio is gonna fill throughout some stuff and it's gonna make a giant e que with the fade back or a delay with the fade back all the way up? This is a handy transition, so check it out. Actually, let's put this in the same track. So I'm gonna start my track going here. I'm gonna turn my faith great all the way down. So we're approaching the end of the track. It's in this up. Freddie Gray's all the way up to launch my next track and I'm gonna pull it down. And there we are. Right. So Ah, a smooth transition between those two tracks. Just by doing that, let's try that one more time. I'm gonna keep the fade to gray all the way down, and I don't even need to see any of this stuff. So let's get rid of that and that All I really need is this fade button. So here's my track. Launched the next track, pull it down and we're into the next track, right? Simple. Um, just with one knob. That's all you need. Now, if we had that map to a deejay controller, we could just do that all day long and just play track after track after track and never let the music stop. That's that fade to Grey. Um, truck it out. You might like it. It's very popular 6. Performance Racks: okay, I want to talk a little bit about these performance racks. Now in the next section, the next kind of big block of videos in this class, we're going to be going over how to d j and the performance settings that you might want to do to set everything up so that you can perform now I'm gonna be pulling in some help from a friend on that one. Ah, someone who's a, you know, totally like world renowned D. J. But to kind of prep you for that. Let's look at some of these effects racks that are set up here in the performance in D. J. Let's look at Cut o Matic. So first, let's just walk through a little bit about what it's doing. We've got a wet and a dry Okay, so let's look at the chain selector here, okay? We've got just a big cross fade between the weight in the dry, right? Pretty simple. Um, let's look at how how our macro zehr set up. Let's hide the chain for second. Here. Goto our wet so filter frequency. If I move that we see we where we've got a band pass filter and we're just gonna move where that is. Filter amount is gonna be the volume of the band that we're pushing or pulling auto pan rates. We've got an auto pan on here and we can slow it down and speed it up. Auto pan amount. It's gonna be how extreme it's going. Is it going full left and right or is it just doing a little bit auto pen shape? Is it square? Little more sawtooth. More sign e stereo with we can pull it in and out of phase with that rock dry wet. That's gonna be our chain selector, right? Because that's our dry wit, a moat and then Iraq volume. That's these two Here we consign those to a macro just fine. So to what this does, let's hide that. Got this auto pan, go in, make that really extreme. Pull out of phase. Let's go all the way wet. So this is just a nice, nice effect to give us a bunch of motion D j Master channel. So this is something that we might want to put on our obviously our master channel, which would be putting it over here. Now we've got way got a big boost in here, so we've just got ah, filter. We're dropping the low mids and highs with R E. Q. Three so we can push those in and out and adjust them here, frequency shift and auto filter. And by putting this on our master channel, we're going to apply it to everything, right, cause it's over here. It's right before the main output. There's a lot of stuff we could do there. Let's look at D J Tools. Let's get rid of our master channel. I just put this deejay tools on the Master Channel, but that's OK, turn it down a little bit. So you've got a lot of stupid stuff happening here. It's crank up motion. All right, so you can hear that motion in there that's adding in. So I don't need to go through all of these effects. Just check them all out, see what you think. They're here to help. Ah, you get set up and start to get a feel for what works well for performance. Some of these are really great. We looked at this fade to grey one which I love. Everybody loves it. Um, got wave shapers you've got a washed out thing. You've got a super looper repulse er, lots of cool stuff. So with that, let's move on and talk a little bit about controllers. And then we're gonna talk about ah, performance and DJs stuff. But when you talk about controllers a little bit first, so onward with that. 7. Controllers Overview: All right, We need to talk about controllers for a minute. So controllers are the physical things that we're gonna touch and interact with that will keep us away from our software a little bit. Right. So, um, the basic idea here is that we're always using a controller whenever we're sitting at a computer. Were using a control or two of them. Actually, one is our, ah, keyboard, like our typing keyboard. Like they'll with the letters and stuff. And the other is our mouse, right? These are what things we can touch and get our hands on that interact with the computer. There's a whole science to this called physical computing. Um, which is just computing with our hands, you know, like using our hands to do stuff and sometimes even using other ah sensory devices like, um, you know, our eyes to control stuff and things like that is very sci fi stuff from I'm not gonna go into it. Um, it's pretty interesting, though, Um, so let's stick with talking about our hands. So how can we interact with ah able to live without using the mouse? The mouse is cool on. The mouse is very innovative. Um, but as a musical instrument, the mouse kind of sucks. There's not a ton we can do with it. Even if you're using, like, a fancy track pad. Um, it's still a little bit problematic to be jumping around because we were only only have one thing we can do at a time, right? Like we can move this little arrow thing. And no matter how good you are at that, I can't do I can't hit these two buttons at the same time, right? Well, in this case, I could cause I could launch it from over here, but ah, let's say I wanted to turn this volume down in this one down independently at the same time . All right. Like, I can't do that with a mouse. I need a controller, something I can put my hands on and interact with and play with and make it feel like a musical instrument. Right? That's what controllers are. So there are tons of different kinds of controllers Obviously not gonna go through all of them. Um, the kind of too big categories of them, though, are the kind that looked like keyboards and the kind that don't look like keyboards. That's kind of the way I think about it. So And by keyboard, In this case, I mean piano like things that look like a piano and things that don't look like a piano. Um, so I think what I'm gonna do next, just as a quick overview is, I'm gonna jump out of my screen capture software for just a second and show you around my little studio at the different controllers that I have here just really quickly too, So I can show you a couple examples of the keyboard type and the non keyboard type. So here we go. Okay. So outside of my computer, this is what I'm looking at when I'm recording all of those. So I basically have two little desk set up here, so let's jump right around my laptop set up here. This is a very popular A PC 40th made by akai. Um, this is designed to work with a built in super Well, so these sets these two sets of eight knobs are you know, these line up perfectly with the macro section of our racks. Right? So it's really familiar. This is basically your clip slot grid where you can hit buttons and launch stuff. Then you got a little mixer, right? There's more to it than that. But just as a quick overview Over here I have two keyboards. I have this little oxygen eight, which is handy when you just need, you know, like two octaves or so and then right underneath it. I have this oxygen 49 which is much more keys. Still not a full size keyboard, though this is usually what I'm using when I'm sitting at my laptop just to play notes, nothing fancy. It does have a number of cider on it in there and knobs. I don't use it very much, though, because when I'm sitting at my my laptop here, I'm usually Ah, doing one of these videos now over in my main desk. This is where I'm actually writing music most of the time. And here I have this new ish Novation Launch Key 61 um, which is really nice keyboard. It's also not a full size keyboard. 61 keys. It's got some pads, some failures and some knobs. Almost all the key ward type stuff you see these days will have some extra non keyboard stuff on it. Some knobs, invaders above that, I have a Novation remote zero s l. This is like I used this for a performance for a while, and now I have it here just for some extra. I don't know when I'm mixing it. Sometimes funds to grab these and work with them. This is a standalone little thing. They make a version of this that's got a keyboard attached to it. But I like this one. Actually, it was really fun then, to the right of that, I haven't able to push. We'll talk more about this later, but this is kind of Ah, the newest funnest thing toe work with. And lastly, I wanted to show you over here. I have a full size waited key keyboard so important to know that this actually I have for what I feel like playing piano. These keyboards are not designed to feel like you're playing piano there basically plastic , you know, and like, they're not weighted keys. They don't feel I like the action of a piano. They're just basically triggers tow launch notes. There's nothing fancy about this one over here, however, does have weighted keys and feels a little bit more like a real piano. Um, not completely by any stretch of the imagination. But if I feel like interacting with the sound as though it was I was playing a piano. This is where I would go to this keyboard. Otherwise, I'm gonna be using one of these other kinds of controllers to interact with the sound. So there you go. Couple keyboard types, couple of non keyboard types. Um, yeah, that's what I have laying around here. 8. Connecting Controllers: so I want to make sure that ah, you remember how to set up a many controller and basically a few quick little functions. So when you plug in a midi controller or any kind of controller to your computer, it's gonna be USB. Almost always. Um, you got to take a quick trip to the preferences, so let's go to live preferences. And then we want to go to this midi tab Midi Sync tab here. So, um, here's what we need to find here. These three buttons here, track, sink and remote are really important. So we're gonna find our device vice. So I have this oxygen 49 set up, right? I have an input in an output. I don't really care about the output. This is what I'm going to send back to the oxygen. Um, some devices, you do want to send stuff back to it in this particular one, it doesn't really accept anything. It really only outputs. So I don't really care about this output so I can leave all three of those off, but on the input. Ah, I need to decide what I'm gonna turn on. So track track means can I record Midi notes. Can I can I can live except Midi notes. Ah, and messages. Ah, to record. You know, the keyboard. So almost always you're gonna want track on right sink sink. Ah, By default, you might want to leave sink off. You probably don't need it. This is pretty much like, um, look, if you have another think of it like this, if you have another device outside of your computer that has a timeline on it, like another sequence, er and you want to sink that to a Bolton and let the other one control the timeline of a Bolton. So like like some looper pedals might output something so that they can control when able to in starts and stops stuff like that. Um, that would be sink. So you want to turn that on to make sure that that device can can do that, if that's what you want to do. Um and then remote remote, you probably want on Also, remote is going to be like, Can we map one of the parameters to another parameter in a built in? So that would be like like I showed you on some of my keyboards here I have extra little knobs and feeders. Can I use those knobs and feeders to control knobs and feeders Enable turn right most of the time. It's probably what you want to do, so you can leave that on Returned that on. So those are your three setting. So right when you plug in a controller out of the box, it's not really gonna work until you come here and do anything with maybe the exception of the push because it's designed by a bilton, it might just like magically work. Um, but get in the habit of coming here, making sure that track and remote are turned on. Sync is on if you want it to be on. But if you don't know anything about what you're doing and you plug in a new MIDI controller, I would go in here, look for input, your device, turn track and remote on leave, sink off and then you'll be up and running. And then once you do that, hit some stuff on your keyboard and look at this little dot all the way up here in the top right corner, and you should see it lighting up as you press, um, stuff, even turning a knob or a switch or anything. Any kind of touching of a button, whether it's a key or anything else, should trigger that little yellow light to go off and then you know you're working, so don't forget about those many settings. 9. MIDI Mapping: Okay, now that we have ah, controller and a controller hooked up, Um, let's do a quick refresher on midi mapping. You've seen this before, but let's do it again. So I'm gonna throw in one of my audio effects racks here. Let's do, um let's do Let's do that. Fade to Grey. What the heck, you know. Ah, And then let's throw an audio track on here. So I have an audio track on here. I have my fade to grey. So all I really need to do is control this knob. I need to find a way to do it. So let's map of this to a knob on my control. So all I have to do this is super wildly simple. All I have to do is either hit this midi button right here. So I get out of the blue stuff or I can command em. And then you have to do to quick little things. Click. Just click Once clicking, let go. So I just touched it and I got this little black You know what kind of frame around it? This So you're just going to click really quickly the parameter that you want Teoh map. And then while it's click, don't click anything else and then just wiggle the thing you want a map it to. So I just turned in a tiny bit and it's done now. Ah, I can click another thing I could say, Let's also map I volume while we're here. So now I'm gonna click that Here's my volume in this whole blue area And now I'm gonna move Ah, Fader on my controller So now I have a fader. It's telling me right there, it's got a little notation for it. Um, let's do something else. Let's say, um, let's say this track to even though I'm not using it, but it'll be a good example. Um, let's click the track activator button and let's set that to the pitch F. So now when I press the note F I'm gonna toggle that on enough. Okay, let's get out of media mapping mode. Command em and then let's see what we got. So here's me pressing the F key on my ah music keyboard, right? Here's my fade to Grey Na and here's my volume. So now I can like I really wanted to, I could control fade to Grey and that volume at the exact same time. But I can't do with the mouse. Right? So check this out. Right. I've got two hands, and now I can actually use them. Let's do one more mapping. What if I want to launch this clip? Now, if I was hooked up to an A P C 40 what I would see as a box around all this all you know, an area. We'll see this on the push in just a minute, and then it would map to all the buttons there. But I don't have that on Ah, this oxygen 49 keyboard. So I'm gonna go back into mini mapping mode. I'm gonna say I'm gonna launch this clip using, and now I'm just gonna look through my keyboard for unavailable button and say what I want to use here. Um, let's use Well, I've used the key f the pitch f to mute track, too. So let's use f sharp tow. Launch that clip. Let's get out of many mapping mode now. I press f sharp and we're rolling. My volume is all the way down. So it's used my fader to turn that up. All right, now let's turn up my fade to Grey. Okay? It's pretty cool. So I get all of that without touching the keyboard. Now there's a couple other hitting. I'm gonna press f sharp again. Oh, well, see, I didn't map a stop button, so I shouldn't have a stop button to that. There are a couple other like, hidden key map ings that will be especially important if you're trying. Teoh set up a performance, for example. What if I had a bunch of clips here and imagine these are all different clips? What if I wanted to launch this whole scene and then I wanted to launch the next scene and then the next scene and the next scene right and go down. There's a convenient way to do that. So check this out when you go back into Midi mapping mode. Now there's some extra stuff that pop up Onley when you're in Midi mapping mode. This is, like, top secret kind of stuff, right? So see this giant play button down here? That means play the selected ah, clip. So watch this. I'm gonna go into my first clip here. I'm gonna click on it again. I'm gonna delete this mapping, right. So I'll have to do is click on it once. Press the delete key that mapping is now gone. Now, instead, I'm gonna map that f sharp to this play selected clip line. Now stay with me for a second. While I'm also here, I'm gonna go down here. See these? Up and down. Arrows. These are awesome. I'm gonna map the down arrow to the pitch or let's map. Yeah, let's met the down arrow to the pitch G. Okay, And we'll map the up arrow to the key. Ah Di. Okay, now let's get out of many mapping mode. Now check this out. Those down in up arrows. That's what it's doing, right? So I press d m going up, gm going down. So now I can talk. I can select through my scenes, and then my f sharp trigger is gonna launch the clip on this track. That is whatever is selected, right? So if I go Teoh here f sharp, I'm gonna launch that one. Go down to the next one, launching that one. Right? So this is especially useful. I use this the most when I'm working with foot pedals, which I do often where I have a foot pedal to basically bank up and down through scenes. Right. So it basically lets me do this. Um, And then I have a foot battle to just launch everything which you could also do. If we go back to many mapping this play right here is gonna launch the scene. The selected scene, right? So with just three foot pedals, you could launch everything if you plan accordingly, which we'll talk about soon. Bye. Ta. Going up and down that's two foot pedals. And then launching the scene. The selective scene. That's another foot pedal. So don't forget about those special kind of top secret map ings that are really important when you do performance stuff could be really valuable. Okay with that, let's move on. 10. Push Interface: okay up next. I want to walk you guys through the push just so you can see the way the push works. It's a bit complicated, to be honest. Now, let me tell you about the push. Really quick. The push is Ah, controller, that able 10 the company able to input out Um, probably about 2000 13 12 or 13. 13. I think it came out. It's kind of the granddaddy of controllers. When it comes to versatility, most controllers are designed to be buttons that you can hit, and it will launch stuff. The push is designed to be more of an instrument. It's much more complicated. Ah, then your average device. So I I don't want to go into, like, a wild amount of detail with it. So I thought what I do is take the opportunity to introduce my friend JP. Um, James Patrick is his performance name. He's a deejay who has played all over the world and for years and years and years. Um, his fantastic person is a fantastic deejay. So, um, he's gonna help me when we start working on ah, talking about more of the deejay stuff. So let me introduce him here. He made ah this great push demo video for us for ah, Sam Academy. And I thought I would just play you that really quick. And this is basically just him jamming. So if you want to learn more about push Ah, I may actually make a push class at some point, but, um, the best way to learn pushes to experiment with it. Now, let me tell you one quick thing about push before we jump into this video, and that is that one of the benefits of push is that it's really designed so that you can write Ah, whole track without interacting with your computer at all like you have to plug it into your computer because it needs the sounds. But you, ah, don't have to look at your computer at all. So in this video, um, he's not gonna be looking at his computer. We're just gonna be looking right at the push, and ah, you'll be able to see all the sounds that are happening Now, remember that able to live is controlling the push. So Able team is under the hood here. But, um, the idea here is that you don't have to look at your computer screen at all to do this. So let's check out this video and then we'll come back, everyone. James Patrick here figured I'd take a moment to scratch out a quick, rough track with the able to push so I can choose through my tracks up top. I have chromatic instruments or drum machines. Here's a drum machine and I could just get started by hitting record. And once I do, I can then start punching in my notes up here on top, right into my sequence. As you can see, right now, I have different patterns. I can vary through, and there's only the 1st 1 playing. That's why it's only playing through this first sequence. Let's go ahead and add a snare drum. I can hold select, and I can choose my snare. We'll put snares on the to maybe put some high ads in here, too. Let's record these in real time. I can adjust my swing settings up here. This is a nice start. Let's move on to our percussion, so I choose my percussion instrument. I'm still in record so I can quantas those notes in my quantities field or I could just leave them in and move on to my baseline. Let's try demo ing a baseline. All these notes that are blue are showing me my keep my key, that I'm in for my song. It's not recording this. There's my baseline. Let's move on to our piano track So I'm into that. Lets us hit record on that riff real quick. Wait till the one. Here we go. I got my piano track in there. It's now have piano baseline percussion drums. Let's revisit our drum track here. Now we can add other patterns here. We'll select the pattern around, and we're going to double its now. We have a second variation of it. Here. We can add other accents, maybe other notes. Change it up a little bit. Let's go to our snare drum, maybe at some other snare drums. Maybe a ghost note. Here. I can hold this note down that I decided I can nudge it late and change of velocity. Give a little more of a ghost note field. That's pretty funky. So now let's let's go ahead and play through both of these patterns together, and then we'll double them both. It's now. As you can see, I have a single pattern. That's four phrases long. Let's just edit this one. In this case, let's add some high hats, but I want to do like a close high hat but not tried in repeat mode. If I put it in repeat mode and choose 16 now I can hold. This is dynamically velocity sensitive. So the harder I pushed to get more attention out of the high House. So now I can improvise through my patterns. Slick, huh? So let's do one last thing. Let's add some effects to these drums right away. I'm just gonna say add effect over here on the right. I'm gonna go. Maybe I'll choose, not a filter. It's gonna go with stock one for now, digging through my presets. And now I can sit device up top and I have my filter for my drums. So see how easy that is? I go back to my tracks. I can choose my piano. Let's put some delay on their ad effect. May be here. Will say Greenaway are filter delay. Maybe let's do the filter delay and in this case, will go with the preset about moving 35 Now I got piano. I go to my volume. I can set up my mix and go back to device. I can choose my auto filter. I got my hands. In addition to this, with my drum machine programming, I have solo on mutes. Let's meet our kicked around. The light is indicating this muted. I could get my snares waken Take them all of a mute together. Pretty beautiful, huh? So that's the able to push. That's pretty much how it works. You can access the entire program via the controller. You never need to look at your laptop and layout is incredibly elegant and really fun to use. I can't put the thing down and we'll have the same problem. So if you're interested in learning more about this, please feel free to look me up. James Patrick Music Just go James patrick music dot com on the Internet. Or you can dig me up on Facebook under the same name. All right, thanks. Everyone have a good one. 11. Follow Actions Overview: Okay. There's one more thing I want to cover before we ah, get fully into of some of the performance tricks and tips. And that is ah, follow actions. We haven't talked about follow actions yet. I don't think in any of my giant able tune list of classes. Um, so let me tell you about follow actions. Now, here's what these are. Ah. So I'm going to two videos on this in this 1st 1 is gonna explain what they are. And the 2nd 1 we're going to set him up. Um, basically, the idea is what happens after the clip is done right? We know one follow action already, and that is to loop the clip, right? We can just set a clip toe loop, and that's just fine. So here we have a clip and it's set to lose. Right? That's easy enough. But what if we wanted at the end of this clip, something different to happen? And there's a couple different things we could choose. For example, we could say when you hit the end of this clip Ah, start the next clip. That's possible. We could set that up so that it automatically goes back and forth. Um, we could say at the end of this clip, stop like, don't loop, right. We could say at the end of this clip randomly choose one of the other clips in this track tow launch. Right. We could do that. Um, those air all follow actions. We can define how a clip behaves when it hits the end of the clip and weaken. Define some randomness and probability in there. Um, which gives us some control over doing some some really fun stuff, actually. So, um, though that's what follow actions are they're basically a a little set of parameters. You can define that will that will do different things at the end of the clip than simply loop or stop. So let's check some of those out. And let's set up a system where we're going to make kind of a cool groove That just kind of goes by itself for a while. Ah, using follow actions 12. Follow Actions Setup: All right, here we go. Let's set up. Ah, fun. Ah, follow action thing. This could get really weird really fast, So we'll see how it goes. Um, OK, so I got a bunch of clips here. I've got a bunch of different meats. Right. Okay, so a couple different kinds of beats. First, let's find the file. Oh, action settings. So we're gonna go down here thes depend on what clip were on. So let's go to the first clip and then we're going to go down to this area. We're going to be sure that our launch settings are exposed. That's a little l down here. There's our launch settings, and then down here is our follow actions. Okay, So if three rows of stuff now, this gets into, like, some probability stuff. So let's walk through these. And there's a fairly simple way to remember the three different robes and how they affect each other. And they are the first row. Ah, used the phrase in how long, Right. So this is in how long. So how often second row is will what happen? Here's where we can choose what's gonna happen. And here is how often so in How long will what happened? How often? So let's look at the in How long? First. So here on every bar, every beat, every 16th note. Let's leave it on every bar. Okay, so every bar is what we've defined here. Will. What happened? Ah, we can stop. We can say at the end of a bar, Stop this clip we could say played again. We can say play the previous clip. We can say Play the next clip. Weaken safe play the first clip, the last clip, any clip or other clip. So these last two are those random choices. Any clip is gonna mean randomly pick a clip that in could include the one you're currently on, so you could get a repeated clip there. Other means randomly. Pick a clip. Uh, any clip can be chosen except the one that you're on, so you'll never get a repeat. Um, let's say the next clip. So every bar play the next clip. How often? So this is a little confusing here. So what this basically means is if there's a one in this box in the zero in this box, that means every time, so do this every time. So every bar play the next clip every time, every every time that that instance should occur Now what we can also dio is we could give it a second choice. We can say, Ah, play the do something obvious here. Previous clip. Okay, and since this is still zero, it's going to say every time do this. It's never going to do this. But if we said one in one, that means ah, there's a 50 50 chance that we're going to get this one or this one, right? So this is basically where we're creating the odds, the odds of it happening so we can set it up to always do the same thing by just saying one and zero, right? So that means this is always gonna happen. But if we say one and 1/2 the time it's gonna go down half time, it's gonna go up right? If we say one and two, that means, um, it's twice as likely than it's going to go up. Then it is if it's going to go down. So it's always a proportion. So let's actually say 2 to 1 so that it's more likely it's going to go down, and on occasion it's gonna go up. Um, so let's try it now. Um, what's gonna happen here is I've Onley set this follow action for this clip, right? So once it gets to the next clip, this clip has no follow action set. So let's just see what happens at the end of this clip. So it went on to the next clip. Now this next clip is set to loop. It doesn't have any follow action, so let's try to do something interesting with that. So I'm going to select all the clips, right? So I selected all of these. Now I'm going to go down to the follow action, say every bar, choose a different clip, and I'm gonna say other, and I'm gonna say one so that that always happens. If I'm gonna leave this at zero, then I don't need to set anything here so we can say no action. So every bar choose a random clip every time. Now I'm could launch a clip. Now, every bar we're going to just be cycling through this forever. Speed up that tempo a little bit just to make a lot more fun. Okay, so that will go on forever, Right? We're going to get these little one bars of ah, these little one bar loops, and they're just gonna keep changing. Um, between these five clips, let's make it a little more interesting. Let's select all of them again. And, let's say not every bar but every 16th note. Rumor bars, beats 16th notes. Well, no, actually, that might be a little over the top. Let's do every beat, every beat switched to a different clip. Right? Try it. Okay, that's cool. Um, let's just because we almost did it. Let's just get weird with it and try every 16th note. Oh, you know, it's OK. So I set that up and I didn't select everything. So let's go. 001 now. We should be every 16th note. Okay, that's cool. Um, that gets us, you know, something kind of interesting, but I can actually make it cooler. Um, because what we're hearing is we're hearing the downbeat every time we're hearing the 1st 16th note. If I switch over to this llegado mode, that's gonna mean, pick up where the previous one left off, right? So now we're going to hear the 1st 16th note of the first clip it launches. The next clip is gonna pick up on the 2nd 16th note. We're basically still going to cycle through a beat. Oops, I didn't get that all the way on there. I didn't have all of them selected by into that area. Let's do the same 16th note thing, but maybe we consume with it out a little bit by selecting to 16,000. Make sure I select everything when I do that came around to 16th notes so pretty interesting, right? I kind of love doing this. Sometimes if I'm just, like, stuck and need to create ah beat, Ah, I might start off with doing this kind of technique. We're all load in like a bunch of my other beats, and then I'll do this. I'll just record it like watch this. So let's just record some of this. Okay, that's enough. Now let's go over to my session view and look in there or my arrangement view. I mean, so here it is. And now I can start to finesse this a little bit, you know, like say like Okay, that was cool. That's cut off a kind of a bad spot. Let's pull that longer. Let's do that one too there, you know, and right. And then I can finesse it and get it good. And it's I can just kind of use It is a place to start, you know? And then I could craft it from here. Ah, but it's fun, right? Follow actions are great. I love follow actions. Ah, for just generating ideas there. Superfund. But they're also really fun for when you're performing. Ah, and you just want to set up a system that just goes. So check out, follow actions that could be really valuable to you and really useful when you're performing. Okay, let's get on to some of the deejay stuff. 13. Help From Friend: - All right, everybody. So, as promised in this next section, get a little help from a friend here. So as you probably know, if you've watched a bunch of my classes that I lived much more on the production side in the deejay side, I don't d j all that often. Although I have, um, and do sometimes. But what I really wanted to give you in this section of the class was like some real nitty gritty like from the stage how some of the pros do it. So you know how I do a lot of stuff now because you've watched several of my able 10 classes? Hopefully, eso I thought it would be great to get another perspective and get someone who's like a serious, hardcore deejay. So I'm going Toso. I've asked my friend JP James Patrick J. P to his friends to, uh, film some stuff for us. Uh, just to kind of walk through his deejay set what he does on stage what he is tweaking while he's performing on and what is doing, you know, and how he gets set up to do that. Right. So, um, I've got three videos from him and what I'm gonna do is I'm going to chime in and explain in a little more detail some of the things that he goes over eso he might mention something quick in and passing on. I'm gonna in between videos, explained some of the concepts that muse explaining a little more detail. So with that, let's dive in. And the first thing we're gonna do is I'm gonna talk a little bit about, uh, llegado and launch modes. You've seen a little bit of llegado we talked about follow actions, but I want to talk a little bit more about those and in terms of launch modes as well, because in the first video from James Patrick, he's gonna talk about that. So, uh, next video just gonna be me talking about llegado and launch modes and the next year after that is gonna be, uh, James Patrick talking about how he uses that in performance. How basically, is gonna be talking about how he gets set up for a live performance, how he organizes a set for live performance. But one of the things he's gonna mention Lo Gatto lunch modes and I want to be sure that we're clear about that before you watch this video. So let's dive into that 14. Legato Launch Modes: Okay, first up, we've got to talk about llegado and launch modes because James Patrick is gonna talk about this in the next video. So we've seen follow actions, right? We just spent some time on follow actions. Ah, and in follow actions, I told you about llegado so quick. Refresher llegado means that if we're doing a follow action, llegado means that when a new clip is launched, the next one is going to pick up where the previous one left off, right? For example, if I launch a clip that is four bars long and before the next bar before bar to I launch another clip, it's going to start the next clip. But it's going to start in the same spot, so it's going to start the new clip. But at Bar two, right, so it's going Teoh kind of fluidly flow between clips and keep our 1234 pattern going over and over. So we look at launch modes. Llegado has a similar effect. While it has the same effect. It does the same thing no matter what we're doing. But ah, launch modes. Well, let's just focus on launch moves for a second then we'll get to llegado again. Um, so we have four different kinds of launch modes And what these mean are what happens when we launch a clip and the kind of behavior of the launch. Now, this applies to, no matter how we're actually launching the clip. So I'm just going to click on it now. But ah, you might also launch clip by like hitting a pad, hitting a key hitting whenever you want to hit. So let's look at this beat. Okay? So in this beat, now what I have I'm set to toggle here, or sorry, I'm gonna set to trigger here. This is what you should be on by default Trigger means when I click play on a clip, it starts playing. If I could play again, nothing really happens. It's gonna launch it again at the next quant ization point. Ah, which is gonna be defaulted to global here, Right, So this quant ization says when will the clip launch again? So clicking it again doesn't really do anything because it's looping. So it's gonna keep playing anyway, right? That's on Lian trigger mode. Let's move under one of the more interesting ones. So gate. Ah, so we'll let me go back to trigger amount. I don't think I explained that. Right. Well, so trigger mode, I click play. It's gonna play until I click a stop button somewhere. Right? A stop button on that track. If I go to gate now, I click play once, and it stops at the end of the quant ization amount. Right? Which is set to one bar right now. Because when that is set to global, that means that so what that means is gate means I can keep it playing, but I have to hold down the button. So I'm gonna hold it down now, and it's going to keep playing as long as I'm holding it down. All right? You know, I'm gonna let go now. I'm let go, and it's going to stop at the end of the next quant ization point. So if I wanted to stop sooner, I could set my quant ization to just that clip to be an eighth note. Now it'll play. I'm holding down, right? It's gonna play forever suicide. Let go. It's gonna stop on the next eighth note. Okay, so that's setting that quant ization point to something different on the gate launch mode. It's like a toggle toggle, similar except with toggle. I click it once we start playing, and then I click it again. OK, I just clicked it again and it stops playing right, so I turn it on. Turn it off. Now it's going to turn off at the quant ization point she's set to global, so I could set that to turn off on 1/4 note, OK, and then click it right now. So the next quarter note, it turns off, and then repeat. This one could be fun. Um, so repeat means as long as I'm holding down the launch as long as I'm holding the mouse down or the button down or whatever, it's going to keep playing the beginning of the clip as set to the quant ization point right, So if I hold it down, it's basically gonna relaunch it as fast as it can buy the quant ization amount. But that's not terribly interesting when we're on the global, let's set this to an eighth note, and here's what we get. Oops, I got to turn off llegado here. I'll explain why in a second Okay, so now I'm holding down the mouse. You can see in the clip window down here that it's just playing that first ace note over and over and over, right? I let go. And it keeps playing that said it to 1/16 note. Right. So this is actually kind of cool, because if I leave it like this at any point, I could just go over and click. I can hold down that clip for just a second, you know, and just get a little a little flare on it. It's even get weirder with it. Said in 30 seconds, you got to be careful because it always goes back to the one. Right. So you got a kind of count and you got to know what you're doing there. So those are our three launch modes. Now, let's go between four clips here. Now, if I have something like gate set up and llegado so I'm gonna go, I'm gonna select all four of these clips, stillness that gate. I'm going to set llegado right. So now oops, I gotta change my quant ization setting and got to be sure I do it for all four of them back. Teoh. Oops. Let's set it to not a bar. Let's set it to 1/4 note. Okay, so now I can start one of these going. I didn't want to gate. I want to do toggle. Let's do toggle with that same thing. There we go. Yeah. Okay, so we're on toggle now. If I launch another one, it's gonna take over where the other one left off. Okay, So let me explain one more time. What's happening there with llegado mode and toggle or trigger? Actually, this would work as well on what it means is if I set the quant ization amount to 1/4 note that means is that if I launch a clip at the beginning of the clip, I want to clip it plays a beat 1/4 note, right? And then if I launch another clip right away, that clip is going to start unbeaten to, And if I launch another clip right away, that clip's gonna start on beat three and another one. It's gonna start on before, so we're always gonna keep our 12341234 We're gonna keep that going, no matter what. Clip we go on. So in that way we can zigzag between clips. It's not If we didn't have llegado on and we did that, we would always be triggering one right? The 1111 and we'll be hearing the beginning of each clip. So by using llegado mode, were moving through the clips sequentially as 1234 But we're just zigzagging between clips . So it came really powerful. Okay, so llegado and launch modes Get those in your head now let's jump over and listen to Ah, James Patrick. Talk about how he uses this and how he sets up his set when it gets the performance. So enjoy my friend JP. 15. Ableton Performance Series Clips: Hey, I'm gonna take a few minutes here. This is James. Patrick It Slam Academy. I'm gonna take a few minutes to cover. I like to set up my live set for performance. When I say performance, I mean, any time where I'm gonna want to, like, grab on alive and play the thing like a musical instrument I mean, it's called Live for a reason. Of course, we can sequence in program and arrange things on the timeline, but I'm way more interested and just having some fun. Sometimes. Maybe you know him at a gig, and I've got some pre recorded content. Or even if I want to treat live like a D J tool. Or better yet, even plug my band in and start sampling and recording my band while I drop some drum machine clips. Here are some tips that I'd like you to consider. I'm gonna start off by showing you how I like to launch clips. First thing I do is I find a clip that I like, and I click on it. These are all keyboard tricks because we'll get to control or set ups in a minute. I'm gonna hold command line when you click on the other clips that I like. But I think I want to hear in this part of the song Let's hit Enter now and it's gonna launch those. No, they don't have to be contiguous And mind you, it is just command. We have to hold the launch. Them clips stop stuff, too. But the holding command thing is really helpful for a lot of reasons, especially because let's say I have a situation going where all the clips playing, I think are really cool. And I want to, like, maybe jumped them down and do a new section. It's really cool trick. Aiken dio called Insert Captured seen or say I hit play on this and I want to work with this later. What I can do is I can scroll to a new part of this eclipse like her that I'm not using yet , and I could hit shift command. I that's gonna copy those clips down your new scene. So now I can move on and I can start improvising with the rest of this content in my clips . Maybe I want to launch other clips. Maybe I want to even interact with these clips in another fun way. Let's jam through this. I'm gonna show you another cool trick involving launching clips. Of course. Grab. Grab All these guys highlighting all those by hitting shift click are shifting my arrows. We'll show me down here. I have six clip selected. Now I can take a look down in the launch column inside of the launch columns where I'm gonna configure some really cool performance behaviors in particular. First of all, I want to talk about the different launch modes for people who use a pusher in a PC, your trigger finger or anything that has pads for launching clips. Launchpad. This is a really handy function down here. Trigger is the default mode where anytime you click on play, flag or start button of a clip is just gonna play it. You can keep cooked clicking, and this is going to keep playing it. Toggle is the other really popular mode for users of those controllers that I mentioned because now we can click and weaken turn clips on or off watch. This is just replaying with the other cool modes that are up in Here are gate mode and repeat mode. gate in repeat mode. Both follow along when you hold down the launch button and then do something when you let go gate mode. The clip just stops when you let go of another grade function for users of those control surfaces, watch how, If I have these, all highlighted and then I configure it. Also not follow launch colonization. I essentially have a drum machine. All right, so that's Superfund TEUs. Now you can start finger drumming with your clip patterns, and as you hold the drum pat down, it plays the pattern. Real common setting for that is maybe to keep your launch colonization on 16th. And that way, when you do hold it down well, we stayed phrased correctly with the other sons or sounds playing an eclipse liquid. The repeat mode is gonna follow launch colonization as well, but it's gonna repeat at the rate of the launch colonization until you let go. So that's really need to know for drum beats. As you can tell, it gets a little tricky. So what's really common to do? And that set of is to keep click one in the scene where in this in that group and to have this one on one bar colonization. So now you can freely improvising one over your good. Ready at the top one. Wait till the downbeat to drop itself. Keep in mind you can record that midi or audio to a new track at any time. And it's gonna give you just the video content, creativity, track biting shift command T show the Iot section by hitting option command. I choose Midi from your 909 kid or wherever you're getting that signal from. Here we go. Right. So now we have a whole new pattern gang. You come down here, hit command, I create a new scene, and now I can drag him. You got it. So, yeah, those are kind of like ways that now, this isn't to say that I'm gonna be using these techniques in the studio. I mean, on the stage and performance setting. But for me, my best tracks ever feel like I'm playing them live. Even if I'm hanging out it in my mom's basement, I still feel I'm summoning that kind of live performance mindset. So thes tricks are helpful. The other technique I'm gonna show you with groups have launched clips or groups of clips. Pardon me, is llegado. This is my favorite of all of these tricks. And this one's going really, hopefully inspire you guys. So I'm gonna grab all these. I'm gonna keep him in trigger mode, engage llegado again. I have all of these selected in this stack, and then I'm gonna go to colonization of the same. Now I'm gonna do just cause this is not the controller videos. I'm gonna key map, and I'll use my number pads. 123456 Now I can bang on one through six to get my rhythm happening. Check it out. - That's not fun. I don't know what is now. Of course, that's something that can, of course, be they re sampled endlessly right onto the track. Oh, my God. So, between llegado the four different launch modes on this Kwan ization function, we are killing it on turning lives. Clips like great essentially into a sampler that we can play with our courting key border with any sort of media input device. That's how I set my stuff up my clips for jamming. Um and I hope you like this technique. I'm gonna walk us out here with a little bit more screwing around Command Select. Do this one. This one. Maybe this lead, but 16. Effects Setup: all right as we get into the next one. So the next thing up is we're gonna talk about Ah, facts. And these are very, very important for when you're setting up your live performance because there's a lot of different ways you can do this. And the audio effects in a live performance set is what gives it a lot of the color. I mean, it's like obviously a lot of what we do is is launching clips, but a lot of it is also carefully crafting the effects to get, um, a real feel for how you're going kind of bring the whole thing together. So in this next video, after this one, Ah, James Patrick is going to go through how he sets up effects and routes effects. Now I think everything in here should be familiar to you. He's doing a lot of busing, which we understand if you watched all my classes, he's doing a lot of effect racks, which you understand. Um, but I want to just point out one quick thing, and that's that. Remember that this is how he does it. This isn't the way you have to do it. This is very stylized thing. Which means that it is. It's an art form, you know, like to set up the effects to create a certain sound. So take what he does, learn from it and then build your own set up. Um, you can copy his set up if you like, but just remember that it's really, um just remember, this is one way to do it the way he does it. It's a pretty good way. It's great way. Um, but don't be afraid to experiment and make your own way at in your own stuff. Get creative with it. Because a lot of that is what makes this, um you know what? What makes us set unique. So don't be afraid to experiment with it. Okay, off we go. 17. Ableton Performance Series Effects: everyone. James, Patrick, back here. I'm gonna go ahead and take a minute to talk about now. I would like to set up my effects for my live performance is a couple of really cool tricks I've got right in front of my face right now. I'm just showing to you Let's jump in right here and see what happens. Keep those return tracks loaded up. Option. Come. Option Command s option. Command s an option. Command are going to show my sends and returns. Pardon me for You know, what I'm gonna do is I'm gonna crank these things up and check out my center. My return A here for my first example, and I'll show you a really cool trick that I integrated. Check out return B. So you'll notice I've got three return track set up. Why? Because the push in the a. P. C. Both acknowledged three returns as their main primary track count. You know, defaults. The other thing that's cool is that I keep all my main voices on main eight traps. That way I can stay with my pushing a PC and want to rate I never have to bank left, right. My drums where I was on one to everything solid on my returns are already all loaded up. The other thing you'll notice is that there's consistency with all of my devices and the macro map Ing's on my returns. It's when I'm playing my gig. All I have to do is focus on the return track. Move the upper left macro and that's my input. Cut off for my spectral effect. The 1st 1 is river is space spectral fever. This is spectral delays, which is more like Dublin. So wherever I turned this now I'm choosing would part of the spectrum I'm gonna spray through my delay resonator saturated combo, the last one in spectral distortion. So I have time based effects, ambience, time based effects motion and then coloration. This is a spectral distortion device that wherever I move this upper left macro to whatever passes through the band is going to get distorted. It's gonna get analog distorted. And in a couple stages of digital distortion, erosion and Redox being digital dynamic Toobin saturated light. Well, tape deck. So now you've got four stage Siri's distortion all following the spectral band pass filter , and that is again a system that is that it resonates across all my return tracks is when I'm playing a gig. I never want to look at the screen. I never want to get in there and be like, Oh, what did I do wrong there? What? Tracking my own? I just want to know The first macro is the tone of my effects. And usually the lower right one is like the compression in saturation of emotion. So the next thing you'll notice is how I use the cross Vader. This is a really kind of unorthodox technique, but frankly, I always find myself wondering, like, Why did they really? But across Vader in here, you can't really deejay right? But the more and more I start playing live like a musical instrument, the more I realize the idea of across Vader's really handy thing to have, and I frequently want to be able to quickly just turn my drums off. But why not also have it inversely turned my effects off? So this is a glow global kind of mixer macro, I end up using. This is like a scratch tool. I leave this thing screaming, just like a banshee like it is now and then I start chirping on this thing e like during the gig That's so awesome. People are like Wait, he's playing live! And now he's scratching on the cross later. What? The head part of the siren. Well, they don't even have to realize that I'm, you know, scratching evil return track. Kind of funny up. So, yeah, that's what I said on my return, my return tracks and how I use the Cross Vader in conjunction the tools return tracks and drum machines to kind of again turn the computer more into kind of a live musical instrument. Now you might ask, What about insert effects? What about effects that are inserted right on track? The only thing different I do for my time based effects guys. As I opened the chain list, my control clear. Can I make a dry chain? This one's wet. This one's dry. Now I could take this return track and I could put it right on the kids. And right there all I need them to have is a macro for the let mix wet mix. We go. So right, so now I have the ability to smash it up right on the track. And again, the only difference that I have a bypass chan or a drag chain allowing this to be a parallel river. Kind of like having a dry, wet mix on the device. But this is on the whole chain ditch that for when you're applying it right to the return track. Why? Because these return tricks are already in parallel. Pretty cool, huh? Yeah. So that's how this thing works. And, boy, is it powerful. So So going back and out of that to change situation. Now, back to my single chain spectral time and distortion racks. And then I have my dual chain parallel racks right on the tracks. And then last but not least, of course, have some master channel effects. Master channel effects like a big emergency. Big washout control wouldn't be a terrible idea to put some reverb or something on that. Let's play around with this. One more on how I use this in a second. But watch this. I'm just gonna grab some reverb, drop it right into the rack. Right after that, I'm gonna put DK time and Dr Webb next on the same control. Ugo, That's What I probably do is pull this all the way down and get myself a tone control, right? Woo slamming, right? You feel me? Master washout. Cool. So these are just effect. Ideas for performance. It's awesome. Here's another tricks of other tricks I have. Look, I keep a limit around. The master track turned down that way. I find getting too excited during the gig and I crank up all my failures. I still have never. I'm hitting the reds on the mains. Give me a couple of extra devia had room on the stereo. I'll put us. Um, yeah, Mazar el ideas for configuring your effects. Hopefully, you've enjoyed this and learn more about creating your own customer axe in fact, rack lessons during the able to program here in earlier levels. Okay, thanks a lot. 18. Crossfader Setup: All right. Um, this is Jay again. Back with you. Ah, in the next video. Ah, we're gonna talk about controller mapping and how James Patrick uses a physical controller when he's on stage, he's gonna walk you through, is set up using the A p c 40. Um, it's it's really cool what he does here. And he shows you a lot of, like, really kind of top secret tricks that are coming up that he does that I haven't seen anyone else do. Actually, it's It was kind of news to me. Um, like he's going to take his cue level knob and map it to the temple, which is totally weird, but makes great sense. So in this next video, there's one thing that he's gonna talk about that we haven't talked about yet that I want to be sure to make clear. And that is the different kind of deck settings. Um, so what I mean by that is, if you go down here, there's this little tiny X. We haven't looked at that yet, And if we hit that, it reveals all these A's and B's down here now. This is designed to set up as though we have, um, kind of an old school two turntables situation. Right? So we get all these A's and B's, and over here, we get what looks like kind of a cross fader, right? That's kind of exactly what it is. So all we can always do with this. Now, you don't have to use this, but he's gonna show you how he uses it, and it's pretty powerful stuff. So let's say I've got I've got these four tracks here, and they all have sound on them. What I can do is I can say this isn't a so I'm just kind of arbitrarily it's a This is a and this is being This is be right. So I'm basically setting up as though there are two records here to two decks, kind of right. So now if I have this cross fader all the way over here, all I'm gonna here is the A channels. If I have it all the way over here, all I'm gonna here is the B channels. If I have it right in the middle, I'm gonna hear both A and B channels so you can use this for alive Set up right. Like I know one of the things that he's going to show you is he's going to set all his decks to A. I think we're all his tracks to a and all his returns to be so that if you just really wants to crank on effects, he just moves his cross fade or all the way over. And then he's got this crazy effect rack, and then you can go back to a by getting rid of it. Or he could just kind of touch it in by going a little bit over. So that's that's what this is. So you hit the X, you get this aim be and then you just assign what you want to be A and B and then, ah, they show up in the cross fader and let you go back and forth. Now again, this is something that's not particularly useful when it comes to production. So, um, I haven't really talked about it yet, but, um, this is a super powerful performance tool. Ah, and this cross fader is ah, lot of the physical controllers. We have, like the ah, a PC 40 that James Patrick is going to use has across fader kind of automatically mapped to this button right here to this fader, obviously. So you got a physical cross, fader? That's map to that that you can control. So you're gonna see him do that in this next video? So let's jump to it right now. 19. Ableton Performance Series Controllers: all right, I'm back for part three of my live performance. Siri's with Slam Academy again. This is James Patrick. I'm a chief content officer instructor here and slam totally love and doing this stuff with you guys. So the main primary able 10 performance control of its out there even in the light of the push and all the other amazing controllers that are out there is still, in my opinion, the a p C 40. Now there's an ABC 40 mark two. That's really great out there. I think most people are still rocking the original. So for now, I'm going to keep this about this, and you can go ahead and translate any of these custom live performance ideas into your own set up and onto your own controller. So what I'm gonna jump in is where I left off last time talking about effects. The first customization I make to the A P C 40 is I signed the cross Vader's a side to my drum machines and B side to my return tracks. So now, of course, liken Jack away on this, and I can essentially scratch in my return tracks. I love that function The next thing that I do is I start looking around in here for controls that I never want to actually hit during the gig on, Believe it or not, even though this is a performance controller, there are quite a few on here that just seem silly for performing. For instance, the Pan Bank. If you're playing music with base or in a club or anything, you don't really want to be panning too much stuff during the gig. Panning is something you do in the studio, for sure, and in the mix down, for sure and inside designed for sure. But during the gig, you pretty much if there's any stereo image in the file, let it play out of the stereo file. Keep all your tracks pan right up the middle, therefore, pan, they should just rename this user. So when you hit user now, you'll be able to custom map these eight knobs to your own specific controls. What I mapped them to you. These are my master channel effects. So I showed you before how I have some effects on my master track. I just hit Pan Bank, and now I have eight of my favorite macros ready to mangle my parallel distortion and delay effects that are on my master track. But that isn't gonna just set itself up. These are just gonna be pans unless take a minute to head over to the midi tab of our preferences. A note. The three different columns. This is a little bit of review track, sink and remote. Er the three different columns that live kind of parses the midi data coming in and out of it into on the way These are broken up as as follows. Track messages are for notes coming in and out of the track any time you need the Iot section, which is this you want the track in and out. Turn on. Sync is for start stop messages and tempo and remote is for everything else. So we're gonna need to do is turn in foot a PC 40 remote control in once you have that on. In addition to the traditional a PC 40 control surface drop down. You need to choose input output as well. Now you can use all the native A PC functions from the control surface script as well as your own custom remote control parameters that you want to have access to most significantly things like turning the Pan bank into master channel effects. You just hit pan on a PC, You head back over here. And you did command em to engage Midi mapping and start clicking on stuff in touching on it for fun. That's how you customize that macro bank. Next thing I do on the ABC 40 gang member, I showed you my master Channel washouts. What's this guy with this? I run to my master Volume Fader. I know for me, I never wanted bunk the master volume up and down. I want this thing to be pretty hot and right up to the top, but not in the Reds. And I want to stay that way the whole night. So I mixed with all my failures except for the master and I map the master volume fader to the high pass or even control. So now I can simply slam the master up whenever I'm in a pinch or the mix is getting too thick and it becomes like a subtle high pass filter. Or if I crank it way up, that becomes a big river delay wash out. So it's not uncommon for me to be like, Oh, crap, I've got too much stuff going on. Bam! And then I come up here and be like, OK, stop, stop, start, start, You guys, just these effects on them. As soon as I feel like becomes the drop slam, it may be combined that with my drum machine, river effects those two together like a two handed breakdown, Master macro. So that plus master effects on the Pan Bank and your customizing that a PC and a really amazing when making it totally rule. Next things, what I do for my clip Stop on my track. I usually keep as I mentioned in video one a video one of this series. I usually keep my clips in toggle mode so I can turn them on and off just by hitting them twice. So therefore, I have this whole clip stop road that's doing nothing. You know what I do with these power? Switch for effects on each of the tracks, so I keep them all off when I want some effects on Channel one. Boom! I hit that and now I've turned on that rack. And now I'm ready to start modulating those effects or whatever. Now have power switches for all my individual inserts. Also a remote control mapping function. Last but not least, you notice how I have sent A B and C, but my tracks here are drums, drums, bass, bass, FM riff, space club, pluck, pad and loops. That's all these guys up here about. How am I gonna get over here? Of course I can shift in macro over, but then I'm looking at my computer screen and wondering which tracks it where I never want to do that. I always just want to know. I want to look at my controller and I want to play the gig on my controller and out on my computer. So what I do, instead of having to shift in bank to be able to focus on the return tracks and then abandoned these really important being channels, is I, then Midi map the play stop and record buttons to the headers on the return tracks Here, one G five g sharp five and then probably a five. Those are my place Stop on record. Sisi is coming out of the ABC Ford now, the beauty of that is, all I have to do is go Sunday. Click here, Turn it up. Return a click here. Adjusted smack. Rose Sandy, Click here. Turn it up. Stop That shows returned to you now adjusted smackers. Sensi turned up the court that shows the seas macros. So this essentially is a three more focused buttons that are dedicated and hardware just to my return tracks that are sent to from here. So it's quite ergonomic. My left hand choose with sand in my right hand chooses that return on. Then they both move upward to their of respective knobs to send and receive signals. So that's Ah, high level A PC, 40 customization. But again, that plus these other functions I told you about, like washout, Senator, these are all great custom is ations. One last thing I want to show you about that, I think, is pretty tight. Que level this. I don't use headphones when I play gigs. Usually. And if I do, I'm running into a deejay mixer or something. This Q novice, Another ergonomically, really beautifully positioned. Not for some master effects or something. So what I do actually is I run this you ever noticed how in the tempo section up here if I hit command M, I've got a little dividing line I committee map to the integer like the whole number or the hundreds. So if I go ahead and take that Q level, my head command them and I touched to the right of the vertical column, and then I turned my knob boom. Now I have hundreds of a BPM from from my temple. Adjust this now, plus the nudge up and down, and I can totally deejay, able to better than any D J could ever turn tables. So now what I do is I'll jump on and jump up and D J. My body will be playing tractor, you know, and I'll plug in and just put my headphones on and hit space bar on the downbeat and then scrubbed this and nudge these until it's right in the nuts turned myself up, and now I beat matching in with the D. J. Was using turntables or tractor, and not too many people are really doing that very effectively nowadays. And if you can manage to master that, you're going to stand out in the crowd And then once you actually get to unleash your beastly powers with your master effects in your washout controls, people are going to remember you forever. That's the plan, right? Okay, cool. Well, enjoy these tips. And I'm James Patrick. Thanks for enrolling. It's lamb Academy piece. 20. More To Check Out: 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 a Bolton 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. On 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. 21. Glove Stuff: 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. Ah, 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 kinda 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. Some 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 when 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 cereal 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 inputs 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 and 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. You can see him, so I just I'm sending. These are masturbating. 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. 22. We Interrupt This Class...: 23. Thanks Bye: All right, everyone, that wraps up. Ah, part six of my monstrous able to live course on D J techniques and controllers. So in this class we talked about affects racks, went over the crazy, powerful things you could do with defects tracks that we talked about. Controllers follow actions. And then we looked at using controllers follow actions and affect tracks in performance with my friend James Patrick showing us how he does it. I showed you some things I dio we talked about give you a couple more links, check out, and, uh, that's about it. So, um, I think I've said this a number of times before its class, but just her emphasized This is a learning process, you know? So this is not really a how to do X kind of thing. You're always gonna be learning. You're always gonna be adapting. So check out what other people are doing. I could show you what I do. I control you. What Patrick does. I can't really show you what everybody else does in a way that everybody works. But I think that, um, with these two kind of intros that I've given you, you'll be able Teoh piece together. How you want to put together your set If deejaying is one of the things that you're gonna go after. So thanks for watching. I hope you had a good time. Check out some other classes if you haven't already. And I will be doing at least one more of these able to live classes. One I've been waiting for this whole time, which is the max for live class. Watch for that. Coming soon it's gonna be Max for live Live part seven, I guess. Wow, a lot. So watch out for that. Uh, can also my other classes leave some reviews if you're comfortable doing so. Those were always really useful to me. And I really enjoy reading them and seeing them and help me make, uh And they helped me get more people to sign up for the class, which is always great. And I will see you in the next class