How to Make Mashups - An Ableton Live Tutorial (Part 7)




Uploaded by fdancekowski on 28.03.2011

Transcript:
For the final and last part I'm gonna show you how I turned all this into a playable live act.
Once you have all your mixes done, a full live act... and this one is around one hour. What I do is first, for referencing,
start adding locators every 8 bars.
Now of course you're gonna start at the beginning and add locators every 8 bars until the end, and then select...
... select everything and consolidate.
Now drag them to session view.
Do the same for these.
Same for these...
Drag them to session view... and you get the deal. Then repeat for every 8 bars... You can do lower intervals like
every four bars or bigger, but I prefer 8 bars. Because if you do every four bars you'll have smaller loops and you'll have
a lot of scenes for one hour. So I usually do every 8 bars. What I do then is find out the duration of the loops,
in this case this loop is 8 bars... Write up in the beginning the duration of it, and then, in the launch quantization,
set the quantization to its size. In this case it's 8 bars... set it to its size.
This loop I believe it's this one, it's two bars...
Write '[2]' bars here, and set its quantization to two bars.
What this allows is that, whenever you play it, it will always be in sync, both tempos, because the warping system keeps everybeat and tempo in sync...
But also phrasing... If you have a launch quantization equal to the size of the loop, no matter how you start it, on time, late, or too early...
When it starts it will be always in pair with the phrasing, the phrasing will be synced up, every time.
One more advice is that, consolidating is the output of the warping engine. This means that it does not output the channel plug-ins
that are used. So if you use, let's say, an EQ or some kind of plug-in, like a stereo plug-in to make a sample in mono, or whatever...
It won't output that result. You'll have to select whatever you want to convert and do a normal export.
Or just use consolidate and then open the consolidated sample in an audio editor and do the change you'd do to it.
Do the EQ changes or whatever in the audio editor and then save the sample. It's the same result.
One more thing about the consolidate function is that you should consolidate the samples always at the tempo they are probably gonna be played, or close to.
Because consolidating degrades the sound quality, and each time you consolidate and warp it again, it would be like stacking up warps,
and warp algorithms, and each one will degrade the sound quality a little.
The more times you consolidate... you'll be degrading the sound quality. So in order to avoid that the best possible,
you should consolidate it using the tempo closer to what it's gonna be played. If you see here, I consolidated this clips with
a rise in the tempo here... and if you see, it added a lot of markers to keep the tempo in place, and this will surely lose a lot of quality.
So what I should have done is delete this automation here and set the tempo of this sample to a constant 90 BPM, and then consolidate it
at 90 BPM... and then here which is the beginning of 100 BPM, as you can see down here, I would set it to 100 BPM and consolidate it at 100 BPM.
Never consolidate with changes in tempo like I did here, and always try to consolidate in a tempo close to the tempo in which it's going to be played live.
Never consolidate with changes in tempo like I did here, and always try to consolidate in a tempo close to the tempo in which it's going to be played live.
Then I usually change the warp modes. Once again, 'Beats' for beats and 'Complex' for everything else. It doesn't make a lot of difference here,
because you're gonna be playing them at the same tempo they were consolidated or pretty close to. So warp modes won't really make a difference here.
Just make sure you consolidate it at a constant tempo at the tempo, or close to the tempo in which it's gonna be played live.
Let me show you now how it looks once it's set up. Fully set up.
Here's how it looks like after everything has been consolidated and put into place. The first thing I'm gonna mention is that
every plug-in you use to affect a certain sample, like a stereo to mono, or EQ, or whatever... It's already in the clips so you won't need any.
As you can see here, I don't need any. You only need those that are generic, like roll offs and limiters... same here, and the compression for the
riff and melodies. Because these are generic, it doesn't matter what you mix with what, they're always gonna kick in the same way.
So they should be here as well. Same thing for the master, everything set the same way.
Other than this... As you noticed, I haven't written the loop duration for every single one yet, for this set. I'm gonna do it soon.
What else I did is that I kept the global quantization to 8 bars, so if I use the scene launches to launch them, it'll kinda be like auto-pilot,
it'll be like cruise control it'll sound exactly like it sounded in the studio arranged version that I did at home... And if I use
the sample play buttons, it'll sound similar, but every time I launch something maybe a bit to soon or to late, it'll sound a little different...
But that's ok, because it's in a live setting, and since it'll always be on beat and on phrasing, it's ok... it will open room for some improvisation.
Also I set every time the BPM changes. I have it set here. Usually when I'm playing I'll change it over here, with small increments...
Like this... But in case I forget or something, every time I start this scene, it'll automatically change the BPM to the value that's written here,
in this case 76... 82... So even if I forget to raise the BPM, once I reach this scenes, it will change automatically,
and keep everything sounding the speed it should sound.
Other than that, I have some colors in here... It's like a visual cue for how good it loops. Green means it loops 100 percent good.
So if I wanna, for example, leave this section looping, these 8 bars, it's perfectly ok because it loops perfect.
Yellow is a good loop, not 100 percent perfect but it's a good loop. Orange, not so good loop but it loops. Red, it does not loop.
Does not sound good.
I also have these white clips here. This means that if a certain section does not loop very good, or does not loop at all, like this one.
And if it's just one or two clips making it unloopable, I'll put that clips in white. So if I'm at this section and I really loop this section,
I can leave it looping and just mute the channel where the white clips are. Because it means they're the only ones stopping it from looping,
so if I really wanna loop it I'll do it. I'll just mute where the white clips are.
So I guess that's it. This is the whole live act with all the BPMs sorted out, all the colors sorted out as well.
And some information here for me to not forget to save it.
I guess this is all, if it was too complicated for you, you should read and see the stuff I have in the description, and then come back to this tutorial later.
If you're in a position to understand this, then I hope it gave you some more ideas for your own mashup live acts, your own sample based performances...
My name is Fred Dancekowski. Check my stuff, I'm definitely gonna be doing more mixes, more mix videos, as well as more tutorials.
So if you like my mixes or like this tutorials, subscribe... I'll be doing more videos. You can check my stuff out at SoundCloud as well.
Follow me at SoundCloud and listen to my mixes, my lives and whatnot... Until the next tutorial, see ya!