Lesson Info
10. Sound Design: Collision, Tension and Effects
Lessons
Ableton Live Overview
14:35 2Sound Design in Ableton
29:50 3Quick Tips for Beginners
10:44 4Physics of Music
40:01 5The User Interface
28:37 6Sound Design: Building the Palette
14:37 7Sound Design: Kicks and Bass
10:31 8Sound Design: Lead Synth Sounds
09:35Sound Design: Pads and Pianos
16:51 10Sound Design: Collision, Tension and Effects
16:03 11Composing & Arranging: DJing in Ableton
22:15 12Composing & Arranging: Step Sequencing
18:22 13Composing & Arranging: Hatching Ideas & Songwriting
23:21 14Composing & Arranging: Riffing on Loops
18:14 15Composing & Arranging: Genre Hacking
10:26 16Sampling & Remixing: Sampling with Simpler
09:31 17Sampling & Remixing: Building Drum Racks
17:19 18Sampling & Remixing: Impulse and Clip View
14:26 19Sampling & Remixing: Slice to MIDI and Organization
18:07 20Sampling & Remixing: Remixing and Mashups
25:22 21Advanced Techniques: Modular Components
18:46 22Advanced Techniques: MIDI & Audio Effects Racks
13:24 23Advanced Techniques: Clip Launching
23:41 24Recording in Ableton
15:05 25Mixing in Ableton
36:46 26Mastering in Ableton
29:45Lesson Info
Sound Design: Collision, Tension and Effects
Ok so that brings us to our next mableton instrument that is also a fairly new called collision uh collision also uses a melon and all and our resonator cnn audio affects them and it's gonna switch to my instrument last year bring in a collision whoever here in solar this instrument I was really surprised at the wide variety of presets and that hamilton included with us and just what it could all do so basically there's a mallet here there's a noise generator you can get like a lot of kind of bell sounds sounds like almost like sounds like the bell that like a ringing bell it's continuing to rain and also just the stiffness in the color I'm going to play with the velocity sensitivity but the heart of this thing are the two resonator is that it comes with essentially it's it's got these these big resonate er's and you continue it so that's got seven semi tones up or a perfect fifth which is a nice it's gonna be a uh harmony and and a minor or major scale all right so like a lot of headw...
ay I just go through and listen play and adjust and that's how you you know I get to know these there's also fine tuning in the resonator you can change these algorithms it's a beam marambra so uh it's a really diverse sent and I ended up using in this um using in this composition let's take a listen to it as almost I used it in a couple ways that is that like a lead on then I used it also used it as a pad and this sort of this second movement so that fine on bump bump that is uh that's actually collision e here here it is noisy string so that was the priest there with those base this is the sound is based on the noisy string preset dropped it in and it just had this interesting character whether you played a chord with or riffed on a melody so I ended up using it for the this sort of lead that sort of vamping and hanging out on the cord there sort of like a little like a little call and response sing on that rising sound there are just so and now it's a cord so I went from playing cord so use it in both ways sort of as a lead sound and is like a noise layer almost okay so collision is ah it's a really great soft sent and has all of these different simulation types of different different instruments and sounds so you can get some big variations by spending through them that would be a string and that was on a city before more of a noisy membrane kind of thing a plate wait go go up and active lots of awesome release and noise motion and cool stuff happened in there these are best used and like I said earlier in combination with the other sounds finding what contrasts and is just just standing out in the mix and also fits the vibe of whatever you're working on so yeah it's it's incredible so the you can go you can also do all kinds of gongs and big bell sounds and that kind of thing or some great lots of great presets for that I never says that sing before the heart of these sounds are the to resonate er's and you can actually uh chain them and to find some relationship values inside that that chain dialogue there so we're going to also look at this string instrument tension and in this truck I've actually got sort of ah almost sounds like it's almost kind of like a electric guitar or something so that's a really cool you know delayed it's a very realistic string like instrument so let's go ahead and we'll pop open a new a new one and take a look at what it's like from the default state so there's an exciter dampener here's some eighty s our values to talk about that on set in the fall off again you can change the type of sound on this case a piano stipe type body I have a violin that are kind of like various dissed dating a string or mel it kind of sounds you can also get some really pretty cool bass sounds with this um bowed and pluck sounds see lots of wild noise and distortion and I'm gonna put a filter on that a little I'm I'm just I just assigned the uh lf just brought the lf of value up in the filter section turned on the lfo you can also change the shape of the elephant appear the way form wait there's a little bit of a delay wait you could also use a standard envelope gives it that really heart attack and you can get you could also use that as a layer you could you could you could group this and created up creating an instrument rack put a really clean sine wave underneath it with just use an operator or any kind of sign a way of generating something by the fall operator um the first off later they're an operator is a sign way I'm actually gonna bring it down a notch active to create so that and then the governor attention now grab control about filter now I can just use tension as the sound for that sort of upper harmonic sort of shaving off kind of dubstep e there but uh slow so it's slow down that all a faux fur got a very big machinea kind of metallic sound to it pretty cool so yeah, I just try different stuff on guy would say keep it simple on experiment and you can use all of these different instruments enable send to come up with a wide palate of sounds and to get lots of different sound does that fit together because they're also unique so one last thing we'll talk about is does like we'll bring in the auto pan effect and it's just you know, choosing different spaces for these I might put an auto pen on top of that very top part of the sound and so I'm gonna put it on the top part of the chain here on just the tension and and it's not going super wide with I might do something kind of subtle and you can control the amount right there you can also change the shape do something a little faster you could also utilize uh the width and in the utility effect special just from zero will basically make it mano one hundred percent contains all of the parts of the sound that are in the middle and and the outside and then all the way out two hundred percent in just the parts that are out of face so very quiet or virtually nothing there when it's totally when it's at two hundred percent we also got like phaser and flender effects so also known a flanker um made it a lot someone's gonna drop uh flying her at on there and it's, really? The fletcher has kind of a metallic flavor to it already is sort of like a resonant metallic motion. I would describe it us, and on this one, also, coincidentally, has a on lsd and go back to the phaser because there's some settings on there that can make it really aggressive. That's, some nice sort of kind of a room effect with that phaser on there, that's, unique and lfo adds the motion, so switching it between the space and earth kind of takes it from a more mild effect to something more drastic. Hmm. Ok. And you can add motion to those within it with e l f o. And that wraps up our sound design portion.
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Electronic Music Production