Lesson Info
20. Final Q&A
Lessons
Class Introduction
11:48 2Navigation in Live 9
22:29 3Live Browser and Libraries
08:59 4Controlling Time
09:45 5Warp Markers
30:01 6Warp Modes
26:05 7Building a DJ Set
21:00 8The Clip View
21:45Follow Action Breaks
09:27 10Sample Box
13:35 11Automation in Modulation
08:00 12Recording Audio in Ableton Live
18:06 13Using Midi in Ableton Live
06:33 14Editing MIDI Clips
08:33 15Creating a Beat
10:35 16Recording MIDI
17:32 17Mapping Browser
15:58 18Session and Arrangement
17:30 19Remixing in Ableton Live
30:50 20Final Q&A
12:36Lesson Info
Final Q&A
We have wrap up questions great don't take those now uh yeah totally just real quick check out his music jamie blake at soundcloud there's a little plug for him again and you'll be able to get these when you get the course should be able to download this remix stems and you'll be able to play chop do whatever you want with it as well and I want to let it let everybody know too that the that is up on the course page now all the other stuff was earlier and then that's a big file so it's up now so by the course now you'll you'll be able to download that right this instant says pretty cool all right some questions we got a bunch of questions from samuel thank you for your questions they're great how do I choke midi notes so that I can have a closed high hat choke ah you have a close high had choke the open high at when I play both of them shortly after each other so I don't hear both of them like real drumming is there a way to do that? Yeah yeah ok so these air great these are awesome que...
stions don't worry if some of this goes over your head ah so I'm just going to say this as a version in case we need to come back to it okay I mean is open a new live set let's say I have ah eight awaits the one that they have in here find one lips find a good example terrible drones it's good once we slow it down it's audio dammit! All right, so I'm just gonna go in and so I need a weight I need to find an example for you actually, uh I just don't want to write a mini clip on top of it, so all right let's just show. All right? So the question is basically there's this thing called choke and a choke is if I were playing high hats if I were playing a closed high hat or better yet I was playing an open high hat so my foot is opening it. I play it if I played a closed high half high hat that would mean the open sound has stopped and now we're hearing a close sound or you can have like what's called a like a sound that emulates what it what it sounds like to close that high hat and you can turn that on whenever you want the open high hat sound to die out choke groups is what stops one sound from playing when another sound comes in to kind of make more realistic drumming and in drum racks there's a very easy way to do that so you have a few different windows here if I press this one I can see my chains and in here I have my snare my room, whatever and here's the open and do they not have here's a closed now notice right here they already did this it's choke group one choke group one so now if trying to find the right area so this is open. This is notice how it kind of stops it that's because it's set to the choke. Now, as a further example, let's set the ride to choke one you wouldn't normally have this, but I noticed the high hat kind of choked it, so all you need to do is change the choke so whatever you want, I should answer that one. Awesome. Um, so can we go back to the deejay in part d j in part and talk about how to bring in the queue section into the mix? So you said it goes through headphones, but we've got a couple questions about how to actually have that go out to the mains as well. If there was they wanted to do that. Yeah. So it's because the way that I q there are a few ways, so you have to open up the set. I might not have it all pre laid out, yeah, so I'm gonna have to actually just drag in some clips real quick so we can play with him all right, it might not be the best beat matching because I might not have saved it. Yeah, I didn't say things. I went against my own advice. Uh, but let's say, I'm playing this one, okay? So I'm playing that now just the way that I like to do it is if I have a new audio track and I said it two q I'm gonna put it here now you need to make sure you're iose your key was set two, three and four so would be headphones just gonna colored blue for now. Now, if I had that bypassed and I was playing let's say this song hee I wouldn't hear it right? But for me, what I do is if I have it all the way to side, eh? I'm queuing up thiss next to be my next song, I could drag it when I want to cite the on then when I'm ready to mix, just bring it over there is another way of doing this, which is why we need to set that to queue is you might not even need a third q mix track. You could if I was listening to side, eh? Just hit the cuba and now I'm hearing side b and then when I want this is playing whenever I want you're hearing, citing so that is probably the easiest way I just liketo havoc you in here because I throw in a bunch of songs before my set and then I just listen to him I don't need to change which a or b I'm listening teo I just always have one track that's dedicated as soon as I feel it sounds good I dragon into b and then I'll do the switch that's just my preference but you could just like let's say you had a controller where you had a q you could be a queuing up that welby's playing but listen to be vice versa that makes sense um cool final question about do you have any secret tips for dealing with cpu overload when you're performing live well besides stating a faster computer uh yeah, I don't know technology is super fast now it's I've never really ran into a computer issue as much as a human issue of trying to do too much because how to explain this uh we can do a lot of what we're already doing in a more simplistic way that might not sound like one hundred percent awesome but in a live setting especially a bar where people are drinking and you're playing over some crappy gbs j b l speakers in the mixer the guy in the mixing board is terrible anyways it doesn't matter if you're using that really high cpu reverb or not so uses much able to live stuff is possible it's going to save you immense amount of headache and cpu power and when you have to do things you sends and returns to be able to send like five tracks all toe one reverb we haven't quite gone into that so here's sends and returns it's a different type of tracking um it's a different type of tracks are basically like my a side if I turn up my ace end it's going to a river it's kind of like a bus I send it to be that way so that way I can send multiple tracked to the same like bus effect rack, right? We didn't go into that because I don't know there's a lot of things we could talk about but using returns using able to live is going to help you immensely and use audio impossible when you're using like contact libraries or war were synthesizers that are all like um oscillator based synthesizers, those air all super power horses so if you can bounce those elements down tto audio in some format even a few notes loaded into simpler is going to be way easier on your cpu than it will as twenty uh many tracks all running different media devices with really hard river bs so that would be the easiest thing to say cool well final thoughts isaac final advice for people starting out unable to live nine yes, so here are some interesting advice for your after doing all of this, I want you to know that abel teen is not music. This program helps you create music. It helped just like I was saying in the beginning, it's like a guitar it's, a thing that helps you create and a moat who you are and say who you are through the program in and of itself is not musicality, so don't get stuck on tricks don't get stuck on like looking at youtube and seeing cool riser sounds cool, like, oh, this really weird scale function thing that helps me do all these crazy stuff like you need to really be solid in what you're trying to create. If you're trying to create music and your music is a thing to share two other people, a story, that story, that emotion, that essence of who you are is way more powerful than a cool aarp educator trick, and the more you can get in touch with your musical self, even if you play wrong, it doesn't matter, because it's you playing and you feeling it, I think that goes a lot longer, and that goes with able to in, like, don't make problems to fix them don't decide you need to have, like, the craziest live sets in the world, are we more like, note every technique and synthesis to be able to make music. Because there are amazing records out there with a casio keyboard. It is true. It, like, so don't get. Don't get gear lust. Don't get stuck in techniques, you know the basics. Now go out and make something out of it. That shows your emotion.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Malcolm King
Hello, Firstly gotta thank you for your great tutorials, and sharing the knowledge of making music; then I wanna say, I bought the Ableton Live 9 tutorial package, but I didn't heard or better say understand some of Mr. Cotec's words; that's why I wonder would you please send me an English subtitle of his excellent teaching? I will be much grateful for this. Best Regards, Malc
Casey Dart
Isaac is the man! He is such a great teacher and you can tell has full control over the information. I already feel like I am many steps above friends who have used ableton for years because of this course setting a foundation for me to learn and experiment. Thank you Isaac and crew!
Claudio Martins
Great start course! And Isaac is a super-teacher. Many lessons and great tips. This the first time Im really learned how to handle Ableton!
Student Work
Related Classes
Electronic Music Production