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Ableton 8 specific Psy Tricks!
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willsanquil
IsraTrance Full Member
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Posted : Aug 27, 2011 02:06
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Ooh, it's pretty fuckin fun to have the Final Out on a crossfader and a 1 bar launch quantize...mix in the glitched version with the FX MIX clips, then trigger an FX only and as soon as it triggers, hit the master clip again and move the crossfader at the end of the bar...really fun sporadic 1 bar glitch-break!
  If you want to make an apple pie from scratch...you must first invent the universe
www.soundcloud.com/tasp
www.soundcloud.com/kinematic-records |
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willsanquil
IsraTrance Full Member
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Posted : Aug 27, 2011 09:55
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How the fuck did I not know that if you right click on Ableton's built in delays there are THREE modes! Repitch, Fade, and Jump!
I've been using Ableton for almost 2 years, I use these delays all the time...I feel really dumb.
If you want to make an apple pie from scratch...you must first invent the universe
www.soundcloud.com/tasp
www.soundcloud.com/kinematic-records |
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willsanquil
IsraTrance Full Member
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Posted : Aug 27, 2011 23:31
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Just another note on that auto-glitch thing...
Having 4-8 FX in the same rack in different chains stretched out across the cross-fade range along with macros definitely works, and is fucking awesome!
It's tricky though to have a macro set up so that you have control over enough parameters in each FX unit to have it be worthwhile, while at the same time making it not confusing for yourself when you have the same named macro knobs for multiple effects units.
I've found a nice way to handle it is to look at the various FX you're going to use and find if they have common parameters that accomplish kind of the same thing. For instance, most FX units have a dry/wet and an output volume, or if you're using phaser/flanger both will have speed/lfo settings or something.
It seems that FX units from the same manufacturer that have similar designs work best, for instance my first FX rack is all Uhbik stuff, my second is all D16 Silverline stuff, the third is all ableton native delay stuff.....
But yeah, having certain effects be randomized with dummy clips while you tweak other effects with the macro knob *and* crossfading between effects.....is awesome.
If you want to make an apple pie from scratch...you must first invent the universe
www.soundcloud.com/tasp
www.soundcloud.com/kinematic-records |
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Trevon
Started Topics :
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376
Posted : Aug 27, 2011 23:32
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Quote:
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On 2011-08-27 09:55, willsanquil wrote:
How the fuck did I not know that if you right click on Ableton's built in delays there are THREE modes! Repitch, Fade, and Jump!
I've been using Ableton for almost 2 years, I use these delays all the time...I feel really dumb.
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that's the beauty of ableton 
we always discover new things and possibilities.
there's more than one way to do the same thing!!
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willsanquil
IsraTrance Full Member
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Posted : Aug 29, 2011 05:46
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willsanquil
IsraTrance Full Member
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Posted : Aug 29, 2011 05:58
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mudpeople
IsraTrance Full Member
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Posted : Aug 30, 2011 02:40
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lol Ive been using Live pretty heavily since v6, but only a month or so ago finally read the manual... I only use it for live and dj purposes so Ill call that my excuse.
Im finding though, that by default, I can pretty much work in Live as a production prog...
Also, I discovered why I hated v8 at first; it wasnt just hte warp envelope, it was the warp settings! The Beats/Texture/Tone/etc settings. I only just recently figured out what setting changes the original audio the least; Texture, with Grains set around 15 or less, and the other setting to 0. Back when 8 came out, i was like WTF IS DIS GARBAGE. 6 mos later I went back to 7, til about 2 months ago. If I had Just...
READ
THE MANUAL...
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mudpeople
IsraTrance Full Member
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Posted : Aug 31, 2011 13:43
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Just discovered a neat thing;
Slice a sample to MIDI, then throw a Random, a Scale, then another Random in front, set the first Random to Add, the second Subtract (or whatever, this is just how i did it) and mess wiht teh Scale til it runs the slices in a cool way.
Now, what I did was set teh channel MIDI in to come from Tattoo, with its mega random sequencing function of evil slurping away any order, but I bet an arpeggiator or MIDI from some other trx would work much the same way.
Adjust the ADSR, offset, loop length etc to taste.
Bake, stone, alter, intoxicate for approximately a cloud's childhood.
And thats how babby is formed.
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willsanquil
IsraTrance Full Member
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Posted : Sep 7, 2011 23:16
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A simple but effective Squelch/Zipper noise made with Analog in an instrument rack.
http://www.sendspace.com/file/ghjhix
Just play low octave notes and tweak to taste. I rarely use analog, but when I do it makes awesome squelches.
To "install" this patch:
If you expand your instrument rack folder in ableton, then expand a sub group and right click on one of the presets and click 'show in folder' the file location will pop up. Just drag the file into one of those folders. If you want to make an apple pie from scratch...you must first invent the universe
www.soundcloud.com/tasp
www.soundcloud.com/kinematic-records |
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willsanquil
IsraTrance Full Member
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Posted : Sep 8, 2011 01:23
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As much as I <3 the shit out of Ableton, I'm going to be switching to Reaper for production and continue to use Ableton for performance.
The automation curves, MIDI editing, routing system, community, price, customization all really blow Ableton's implementation (or lack thereof) out of the water strictly for production...so further posts from me in here will most likely be performance oriented.
If you haven't already, check out Reaper. It's fucking awesome.
If you want to make an apple pie from scratch...you must first invent the universe
www.soundcloud.com/tasp
www.soundcloud.com/kinematic-records |
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mudpeople
IsraTrance Full Member
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Posted : Sep 8, 2011 14:53
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http://www.facebook.com/media/set/?set=a.500202889900.277901.507249900&type=1
If you cant get the link for some reason, its just my live setup as it stood earlier today.
Lots of MIDI input channels, one for each Thesys, one for each plugin's program changes, one each for kick and bassline clips. I found that the syncronization can be thrown off, just by having a channel set to IN or with teh record active, the solution is MIDI input channels, basically just pipes that funnel the MIDI controls to their proper places without having the sync issues I was getting with channel clips, and also this way I can route more than 1 control channel, for example a Thesys input as well as a program change input to the same track. Plus most of the time its not necessary to have the MIDI input channels active, grey boxes tend to make the yellow ones stand out better, which makes it easier to work in realtime 
Still havent begun piano roll work, I admit that Ive been deprived using Renoise for so long, I just want to edit patterns with the keyboard shortcuts that make it so fluid to work in and cant really see one single finger, clicking one single button, as conducive to creativity.
So Ive been making bassline templates, sorta... Not the ideal, Id rather make em on the fly with Renoise, but Renoise isn't the best for MIDI work, and I found the ReWire approach too clumsy for realtime even though I can make a bassline faster than i can type teh word CUNNILINGUS REX it just feels more streamlined with only one screen
Ive got a few channels from Tattoo routed to sliced samples, with a Random-Scale-Random chain in between, which makes neat stuttery voice-shreds And Charlie Sheen and the UFO guy in a drum rack. Which I have to map still, i just remembered.
Also finally figured out what i was doing wrong when 8 first came out that made me turn tail and head back to 7; the damn warp settings, the Beats/Texture/Tone etc, I used Beats always in 6 and 7 so i did the same with 8 without knowing that they drastically changed what the settings do, Beats actually chops the audio up in realtime which was why I had a hard time with CPU on teh old machien, and why the sound always turned out changed, and IF I HAD JUST READ THE MANUAL, I WOULD HAVE UNDERSTOOD.
8.2.5 has smoothed out the sound of the Tone setting whcih is now my preferred setting (Texture previous), with the grains usually somewhere between 10 and 25, or all the way down if it doesnt affect the sound too much. Im also happy to say that .2.5 runs Max plugs much stabler, some devices still crash it though, and the other day, the whole system froze which never happened with .2.2, but Im very pleased with teh update.
Also the auto filter and gate's sidechain option is very useful for live use, helps the different sounds nest together when theyre all playing, sorta like a standin for studio mixdowns, idk if id use it for studio purposes, at least like I do with teh live setup but they "Really tie the room together" like Dude's rug. . |
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willsanquil
IsraTrance Full Member
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Posted : Oct 6, 2011 17:04
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mudpeople
IsraTrance Full Member
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Posted : Oct 8, 2011 02:57
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I dont usually use grooves, but when i do, I prefer Dos Equis. Er, I mean... Make my own.
Right click on clip, extract groove, drag groove to clip, tweak settings in groove browser, listen to clip and hear groove. If you drag the blank onto the clip, tweaking in the browser is applied automatically. You can tweak then drag, but applying the blank to the clip lets you hear what you're doing.
Thank you Tom Cosm!
But more often than not I dont use grooves, in my live setup theres not many clips to put them on, and I tried to convince ClockWOrK and Thesys to accept them but they told me 'cash on the barrel head buddy' and gave me the finger . |
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Sunrise Travellers
IsraTrance Junior Member
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585
Posted : Oct 8, 2011 13:41
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willsanquil
IsraTrance Full Member
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Posted : Oct 10, 2011 02:32
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