hey guys thanks for joining us today here on our pure Minds youtube channel my name is brandon i produce under the name small Tron and I'm a graduate of peer Minds complete producer program and I'm now working for them as a studio manager sound designer and dialogue editor today I'm going to show you one of my favorite on music production tips inside of Ableton what I'm going to show you here is something that I like to do to keep producing fun and fresh and just kind of hands-on it's really easy to I find to get sort of sucked into the details of you know just making sure that he was perfectly dialed or oh is this setting uh you know modulating at the perfect rate I'm not sure you know it's easy to get sucked into that stuff so we're gonna zoom out today and focus on a workflow that's just a lot of fun one thing that a lot of my favorite producers in the genre of sort of dubstep inspired bass music like to do is they they have Hardware sense that they send a MIDI pattern out to and then they record the audio of them adjusting the settings like the knobs on their hardware since and that gives them a pool of a couple minutes of audio to collect their favorite moves from so you know they're kind of experimenting with the settings and then you know here and there they'll find really cool things that they've created in that experiment and it's all there in the audio making just cut it out and use that in their in their arrangement the thing is hardware since they're pretty expensive and not a lot of people have them but a lot of us have MIDI controllers and a da W such as Ableton so you can do pretty much the same thing that these guys are doing with their hardware since all inside of Ableton using just out MIDI controllers which a lot more people have access to so I brought in my MIDI fighters here I've got the 3d and the twister and I'm also going to be focusing on the twister today because I'm going to be sending the MIDI pattern to just a synth with a couple cents actually with in Ableton and then I'm going to play with some settings on those since using the knobs that I've mapped to the twister and I'm going to record that audio and use that as a bed to pull since from foreign arrangement alright so the first thing you're going to need to do to set this process up is just have a couple of scents that you like and pick some parameters that you want to play with now I've started with just operator here which is uh Ableton's FM synth FM is frequency modulation if you're not familiar and as you can see on this diagram here the current setting is that the sensor running or the oscillators of the operator are running into each other doing frequency modulation to each one so D is modulating C C is modulating B and B is ultimately modulating a which is what you're hearing now you can change that by going into this tab and choosing different configurations so this end one for example has no frequency modulation but we're going to leave the frequency modulation on and stick with the original configuration today so you can also see that I've got some effects on here I've got chorus I've got the phaser and an auto filter which will be doing some mapping on and just a ott which is a multiband compressor preset in Ableton they're really just thickens up your sounds I'll include a link so you can download this session and I'll play with these since yourself but I'll show you what I've done with them here so you're gonna want to make an instrument rack you can just select all of your devices and hit command G and that will create the rack here that I've got and then by default your macros will be hitting say only to hit this button to expose them and I like to use macros from that because it makes things simple puts them all in this little grid over here you don't have to do that you can just hit command n like this and that pretty much anything but the macros help you stay organized and you can map multiple things onto the same macro and get some combo moves going so how you're going to set up these macros is you're gonna shoot you're gonna hit the map button here choose any parameter that you like and then hit the map button over here so I'll unmad this first one and show you how to do that so I've taken that off now it's open you can see it's available to Matt I'll select this the level of oscillator D so that's like the top level oscillator and the frequency modulation series here in the operator and I'm gonna map that to this knob and then you can see I've done this what the restaurant will go through what I did for those but now you can see this is uh on this knob you turn it and you can see that the level on oscillator D over there moving as well and then to MIDI map if you're unclear on that you just hit command n select the knob that you want to Matt to and then turn the physical knob on your device to map it so I'll delete that mapping click on that turn the knob and it snaps and now as you can see when I turn this knob we're changing the level of oscillator D perfect so on this bass synth which I'll play for you here just so you can hear what we're working with that's what we're starting with and now have a nap Silas later D I've mapped this macro to is the decay and it is also the sustain level so that way I can shorten the scent like so
so by bringing the sustain down and the decay down they're shortening the amp envelope of the sentence to create a shorter more gated feel the next thing I have is a chorus that just wised up then we've got other filters definitely one to map is the filter frequency there I've got the one in operator mapped there and I've got the coarse knob on this lowest level oscillator on on the operator which is the one that you're hearing and that's a just a pitch of that particular oscillator and since that's the one that you're hearing that's the one that's going to have the strongest effect if you were to map the course now but B C or D you'll hear something but it'll be less pronounced than this so you can see how it's a big effect then the last three here are all mapped to settings on the autofilter' over here so we've got rate we've got a mount and shape on the LFO and I've got the frequency set at a specific point in here around one to two kilohertz here and that just lets when I turn up this LFO that was a nice spot for uh to get some some feel for wobbling here as you can see so I've got that's the amount and change the rate and then the shape also so now what you're going to do is duplicate out your drums so you can stay in time with your modulation and your synth as long as you want to play with them so I'm going to go for about two minutes here you can go for longer if you like and that'll be the amount of audio that you'll have at the end of the process so what I'm gonna do next is create an audio track and rename it base audio and then I'm just gonna route the audio from my bass synth track into this audio track then I'm gonna unsolo the bass track so we can hear the drums as we go through but I'm going to turn off the art because we'll come back to him then I'm going to command click this record navel button so I can enable both the audio track and the MIDI track and record
the advantage to doing things this way as opposed to going in and trying to create sounds like this individually is that you can just come up with all these variations so quickly and it's just fun you get to play with your MIDI controllers and get hands-on and and you get just such a wide range of things and the reason that's helpful is in a lot of these genres like dubstep trap there's any sort of bass music really you're looking for a high variety of scent sounds so if you're just stuck on the same synth sound your whole song it's going to be stale it's not going to very exciting so you need these variations and you need a large number of them usually to fill all the little holes in your song to make it sound really complete and finished so one thing you can do once you have this bed of audio here just go ahead and create a MIDI track and grab a simpler throw it on there or sampler if you if you want the full suite of options but to keep it simple will use the simpler and let's look for a good cut here I like that one get a little filter resonance on there so you just select your cut and drag it on down now once you're in the simpler you basically got this sound is a new scent so if we switch our solo over here now you can play it back at different notes you can change the start point so you get different different sounds out of it like that you've got all the settings in here as far as you know you can reshape the envelope if you want so you turn the sustain down and turn to get the decay down and turn into more of a pluck so it just gives you access to a lot of variety very quickly so you can do a similar technique with lead sounds and my favorite type of simps to use this on it's like an arpeggiated lead because it gives you a lot of options for mapping knobs and getting a lot of variation out of that as well and so as you can hear I have just this simple square wave synth I made in analog here and I've got on that is some chorus Auto filter simple delay and reverb pretty basic lead setup so that's what he sounds like now the maps that are the knobs that I've chosen a map here the the settings that I've chosen to to modulate are the arpeggiator rate the gate which is the length of the note the delay time and dry/wet are these two guys now I've got the filter frequency which is a total go-to for modulating then I've got an LFO on here which is a square l fo show you that this is back to the Auto filter this is similar to what we did on the base end so on the auto filter you can see I got the mode set to square and then I'm modulating the I've mapped the amount the rate and the frequency this time as opposed to the the waveform and the reason that I want it square is because at the right frequency it will turn the pattern basically all the way on and off and so you can just hear it like every bar every two bars like so so you hear it going back and forth on and off where if this is turn down here all the time and the last thing I got here's the the chorus so basically we just do the same thing create an audio track say your input this time to the art go ahead and unsolo that record navel hit command to record enable both tracks at the same time I'm gonna want to turn the loop off duplicate it out won't go quite as long this time and then record again so there you go it's about the same same technique as we did with the bass you just got all this to all these varieties of that same scent that you can cut out thanks again for joining us here on our peer Minds YouTube channel I'm Brandon aka small Tron subscribe to our channel for more videos like this and we hope to see you here again if you're a music producer subscribe to our Channel and stay up to date on the latest pyramind tutorial videos track breakdowns elite sessions and more visit us at pyramind
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In this tutorial, Pyramind sound designer Brandon Roos walks us through one of his go-to sound design workflow techniques in Ableton Live. He shows us how to make resampling more fun by mapping parameters to a MIDI controller and modulating the parameters live - in sync with the beat of your song.
First, he goes over the parameters he chose to modulate. Then, he shows us how to map those parameters to the Macro knobs in an instrument rack. Next, he MIDI maps the macros to each knob on his MIDI controller. After MIDI mapping all of the parameters, he duplicates his drum pattern so that he can record and play along for a longer period of time. Last but not least, he creates an audio track and sets his bass sound as the input for the audio track.
This technique yields a lot of variation in your sounds in a short period of time, and can make producing more fun.
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