Recording MIDI in Ableton Live can be hard to navigate live. The video Below goes over the basics of using a MIDI Translator to control Ableton Live to make this a lot easier.
If you haven’t dived into Max for Live for all there plugins… You are straight up mad! There is a some AMAZING free plug ins that will blow your mind. People like Monolake are putting these together just to share them. Here is a list of some of the rad ones I have played with. If you haven’t checked them out then this is a tease to get you diving in.
Two virtual microphones rotate around a single sound source. Doppler delays, distance dependent amplitude modulation and filtering included. Movement of source and microphones synced to song position. This allows 100% reproducible effects.
It is a simple but interesting way to create soundscapes, drones and various sick bass or sound design effects. with the software Iannix. IanniX is a graphical open-source sequencer, based on Iannis Xenakis works, for digital art.
Simple Video Mixer that lets you fade between two videos.
There are also an endless amount of other cool plugins and effects that can be found at Max For Live. Check out their library and level up to a whole new world!
I am about to share with you some of my mastering secrets. This is the Mastering Chain I prefer to use and think it adds a nice amazing final mix. I sadly don’t own most of these programs and have a few friends in the mastering business that let me use their rig for the final cut, but these programs are completely worth the investment. Here are the basics.
The Mix Down
To start before you do the mastering though make sure that it is all set for the mixdown. Here is a quick list to go down.
- Are your different instruments eq’ed to not clash (High pass on melodies and such)
- Cut off your low end around 30hz
- Levels are good and all elements are at a good volume
- The final master channel is around -3db for “headroom”
If your volume is all set then do your final stereo bounce. Bounce down in whatever bit rate the samples and program runs at. either 32 or 24bit.
Start a new instance and loud your stereo bounce. From here we are going to set up the effect chain for the mastering. To start the chain I use the Engineers Filter. This is a great high and low pass filter. I cut the sound at about 30hz just to make sure. Depending on your style of music you could go higher as well.
Creating your own instrument rack is a really fun and important part of electronic music production. There are an unimaginable world of sounds out there, but creating your own unique sound is very important to be known for your “sound”. Killowatts and Vibesquad have a unique and unmistakable sound that helps them be known as musicians. This technique will also save you a lot of time in your actual song production.
For the example of this tutorial I will be going over how I put together my (aq) Rhodes Pack from a recording I did of an Original Rhodes MKii at London Bridge Studios in Seattle with the help of CJ Stone and Brian Baron.
So to start I dragged in an instrument rack. Then when you view the “chain” you can see only one. I dragged in 5 instances of Drum Rack.
Before this I took the recording of my Rhodes and sliced it up into samples. Such as “c2″ D2” and up the scale. Then I just dragged and dropped those samples into a different Simpler instance for each note of the drum racks. Now since I have 5 different mics I have those different channels with each sample from each mic. SO when I hit c2 I get all 5 of those playing.
You can then add effects and fine tune it by midi mapping controls. I took the chain volume and mapped it to the macros for the instrument rack so I can dial in the volume or sound I want.
That is pretty much it. Very simple but now I have my own Rhodes sound that I recorded myself.
You can download the (aq) Rhodes Pack at my store to get an idea of what I did, and also have a rad new instrument.