Welcome to Day 5 of my 30 Day Journal experiment. In this Video I work further on the melody, rearranging midi notes until I find something I like. I also create some filter sweeps using Operator, run it through a chorus effect and resample it while automating the chorus a bit. These filters will later be cut up and placed throughout the song arrangement to add a little high frequency drama to breakdowns, buildups and places that just need something interesting to happen.

If you miss a video, the previous day’s Video/s will be at the end of this blog. To watch Day 1, go to http://vimeo.com/14687113 and then continue back here.

Be aware that due to the volume of video material I’ve recorded (20 or more hours), there are no zooms or tricky video effects. I am also aware that there may be some imperfections & volumes may fluctuate with my voice from video to video. In this case I’m going for a wealth of content instead of perfection. It is recommended that you enlarge this video to fullscreen for best results. Enjoy and please share this with your friends through word of mouth, email, Twitter & Facebook. I’d like to share this free content with as many people as possible for the next 30 days. Understand that each video will only be available to stream for 48 hours or until the next video goes up.

For those who are interested, I will be making all the songfiles, samples and final mixes of the songs available immediately if you decide to  Advance order this full collection   (you’ll need version 8.1.3). I will want to do some final work on these videos before sending them out. The full collection will likely be priced somewhere between $59-$79 but will be drastically reduced during the next 30 days.

I’ll also have all my collections available at a 20% discount through the duration of this Video Journal. Just use the discount code: 30DayDisc

* The comment section of my site is screwy at the moment but feel free to email me at MusicSoftwareTraining@gmail.com if you like.

I hope you enjoy this 30 day experiement. Happy Music Making

Jason

30 Day Music Production Video

If you've ever wanted to look over my shoulder while I make songs, THIS is the collection for you! In this collection you get me producing 2 full songs and a DJ mix from start to finish over a 30 day period. I take you through the good the bad and the ugly. It's the most honest video collection I've ever made. It includes every Ableton songfile for each day, every sample used and about 20 hours of Video. It also includes mixdowns of the 2 completed songs and DJ Mix.

Ultimate Ableton Collection 1

A must for anyone new to Ableton or wanting to dive deeper into the depth of this program. Over 4 hours of the most in depth yet easy to follow tutorials on the market!

Ultimate Ableton Collection 2

This collection makes an incredible companion to the first collection and gets into the newest features in Ableton. There are also 20 professional custom drum kits and a full Drum Racks replication of Roland's famous R-70 drum machine.

Advanced Warping Collection

This collection is a must for DJ's and remixers! If you find yourself warping full songs on a regular basis, you are going to run into warping issues that can really bring your production to a halt. These simple secrets will get you past that with ease and back to doing what you do best.

Dj'ing and Performance Collection

A must for anyone wanting to DJ or perform live in Ableton. Includes 17 in-depth Videos on Warping, Organizing files, Setting up midi controllers (including APC40) and lots more! As a Free bonus, it also includes my Ebook "Mixing with your Mind - Make your best DJ Mix".

Ableton Remixing Walkthrough

For those who want to see exactly how I approach a remix. From editing the original sounds, to dropping them into Ableton and building ideas. Then adding to these ideas to compliment the original material and finally working it all into a song. All edits, effect settings, automation, and arranging procedure is included in the information packed video collection.

Producer's Deluxe Collection

Get all 3 of my full video Collections (Ultimate Collections 1 and 2 and Advanced Warping Collection) Producers Deluxe Collection

Previous Day’s Video if you’ve missed it:

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My 30 day video producing Journal

For those of you who are following me on Twitter over the last 30 days, you may have seen me tweet about an experiment I started on the 1st of August.  This idea has been running through my head all year and I kept putting it off because I was honestly a bit afraid of embarrassing myself publicly by agreeing to let you watch my songwriting process for 30 days straight.

One major hurdle was the fact that I have never produced music everyday for this length of time and wasn’t sure what the outcome would be if I forced myself to create when I wasn’t particularly inspired. Would inspiration show up or would I be left showing you 30 days worth of “go nowhere” ideas? That can’t be good for anyone’s ego.  :-)

Another fear was that you might not learn much from this process. I don’t purposely do complex things just for the sake of it, so most of my process is experimenting with layers of simple ideas until I find something that works. I didn’t want you watching me use the same techniques over and over and thinking “I thought he was gonna show me some crazy stuff” and being disappointed.

Then I had a thought…..

These excuses were the exact reason nobody else has done something like this before and if that’s the case, this must be common with most everyone that creates. Maybe by showing my strengths and weaknesses I might be able to pull others outside of their comfort zone. Maybe this will show you some of the essential things to learn instead of you feeling like you have to know everything before allowing yourself to start.

Through this process I’ve been motivated, unmotivated, grumpy, anxious, unorganized, inspired, bored, confused and slightly embarrassed at times. Despite all that I was able to complete 2 songs & a DJ mix I am pretty happy with. That has got to count for something. I’ve also become that much better at fighting through resistance and getting to the other side. I may talk more specifically about my struggles as I share this 30 day process. If I can create in the state of mind I was in on some days, you definitely can too!

So here’s how this is going to work…

At some point soon I will be posting 1 video on my blog a day for 30 days. Almost all the videos are 30 minutes of longer, while some are well over an hour. Each day 1 video will be up to watch for free for 24 hours (or until the next video takes it’s place). So for 30 days you will have a new video to watch. I’ve edited the videos a bit to keep them more focused so you don’t watch me go off on tangents that are unnecessary. You will however see me do some things that don’t get used at all in the final process. I figured it was important to include that so you can pretty much watch the whole creative process.

For those who find value in this collection, I will later make it available if you want to purchase it. It will include all the samples used and all the Ableton song files from each day as well as the 2 completed songs and DJ mix (obviously seperated tracks from my DJ mix will not be included).

Don’t call this a tutorial

Although there is alot to learn from this collection of videos, it was put together without any planning and therefore is not like any other collection I have made. This isn’t a “how to make a (choose your style) song” but rather an relatively honest approach to some ways I approach making music.  I do however limit myself to just Ableton’s internal effects and instruments. These limitations take me outside my comfort zone which I thought was a good challenge. I wanted to be working with tools that all Ableton users have access to so everyone can not only follow along but stop thinking they need more stuff before they can start creating professional sounding music. In another track I built the song just using samples and internal effects. I also go through the process of preparing a song to play live in Ableton and build a DJ mix.  Do to the 20ish hours of footage, I haven’t done the type of editing I usually do. Sometimes you’ll find me in the “zone” and I stop talking about what I’m doing and I just DO, although I try my best to fill you in or why I’m doing what I’m doing and what I am thinking at the time.

I hope this lets some of you inside my head creatively and shows you some building blocks, techniques and tools that you can apply to your work. I certainly didn’t invent any of the techniques, so it’s only fair that I pass along what I know so you can take it and figure out a way to do it better. … Then I can learn from you  :-)

Keep your eye on this blog and make sure to follow me on Twitter if you want up to the moment updates.

Til then,

Happy Music Making,

Jason

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Midi Controllers

Up to this point I’ve avoided writing much about midi controllers with Ableton. Don’t get me wrong, they can add a whole new world for live performance as well as producing but I hadn’t personally felt I had enough to say on the subject. You see, I don’t want to just jump on a hype bandwagon if I don’t actually have something important to contribute. My goal isn’t to turn you on to a bunch of extra gadgets for your studio, I want to help you actually make more music or perform more efficiently.

For the most part, the things that initially excite me about new midi gear don’t turn out to be incredibly practical.  Most of the neat midi controller templates lend themselves better to pre-prepared performance set ups and less of a spontaneous environment. On some youtube videos I’m really impressed with some of the chopping and remixing effects i see people do on the fly, but then realize that you wouldn’t be able to do most of that live to say, 100 song choices to mix and match. Instead you would pretty much have to have your whole setlist ready to go and just have the ability to tweak from within that template. This can be great if you are performing your own productions and remixes, but not as great for more of a DJ style set.

Lately, I often find myself asking “Is this piece of gear really serving me, or does it just look cooler”?

I haven’t forgot the beauty of simplicity in DJ performance. I still am blown away by DJ’s with no more than 3 CDJ’s and a mixer. Of course we all want to push things to the next level, but amazing things can still be done without a setup that would confused a rocket scientist. I am not attempting to make one setup wrong and another one right, I am simply trying to share what works for me.

Thusfar these are the midi controllers I have used:

M-Audio Ozone

Korg PadKontrol

Behringer BCR2000

Behringer BCF2000

Akai APC40

You can probably guess from that list that I really love the concept of the flexibility a midi controller can give you. Unfortunately, I haven’t yet found that 1 piece of gear that works perfectly for my needs. Each piece of gear offers something special, but no single piece does it all. Most controllers are a bit too androgynous which can be a good thing when you want to re-invent it’s capabilities but not necessarily as straightforward as a DJ mixer. In many cases, I buy a piece of gear in order to do something a bit more outrageous and later realize it’s just not as practical in a live situation.

APC40

I was one of those guys who bought the APC40 the first day it came out and dove right into it. The plan was to be among the first to review how great it is on my blog but the longer I played with it, the more I felt hyping this controller wouldn’t have been authentic. I would simply have talked about how others use it when I hadn’t personally found an approach to using it that satisfied me. Everytime I used it in a live situation, I found the functions I wanted most were not at easy access.  I guess I was hoping the APC40 would be as straightforward as Sasha’s Maven controller. I like that each channel has volume, EQ and 6 clip launching buttons.

I realize that I like one knob or button to have only 1 function. I don’t like having to scroll for the right menu before I can make a particular tweak or find that one song or loop in my set. In that same amount of time I often find I could have more easily just used my mouse or qwerty keyboard.

Another thing that bugs me is multiple clip grids on the APC40. It’s a fantastic concept and I still get a lot of use out of it, but when you are adding and removing songs and loops, it’s easy to get confused with what is what.  I’m constantly checking to make sure I’m about to push the right clip.

With a standard DJ mixer you have less flexibility, but you always know where everything is. The faders will always be volume, the EQ’s will always be EQ. There is something comforting about that. Most controllers just aren’t sure exactly what they are. For example, the APC40 isn’t quite the perfect performance tool as it doesn’t have 3 EQ bands for each channel. It also isn’t quite the best studio controller as so much real estate is taken up with the clip pads which aren’t touch sensitive.

I know what you are thinking right now..”Well you can tweak it to do all sorts of things”! Of course you can if you want to learn a bit of programming and 3rd party software, but I’ve found, for myself, that the more software involved in a live situation, the more time it takes to set up and the more chances of your set not going smoothly.

iPhone/iPad as a controller

I love some of the aps for the iphone without a doubt. I particularly love Snatch, Mrmr, and Touch OSC . It feels very empowering to be able to control Ableton from your iPhone’s touchscreen however, after trying to work it into a live situation, I found it only satisfying as a gimmick. I can certainly see the iPad having many advantages to the iPhone versions but still question just how necessary it really is in a live situation. At the end of the day, for me personally, I prefer physical gear.

In a way, this realisation kinda bummed me out because I really liked the idea of the iPad replacing the need for physical gear. I also thought it looked cooler. I fought with this for a while and finally concluded that I got more enjoyment from physical gear that is set up in a simple fashion.  It just took too long to set up all the software and have the time to test the wifi network and 3rd party software to be sure it would work perfect everytime. I will likely incorporate the iPad in the future, but not for my most important controls.

Another thing to consider is that I set up and tear down my studio every time I DJ. This means I am hooking and unhooking different controllers, sound cards, hardware and templates. This can confuse things quite a bit when both your live setup and studio setup are complex.  This was never a problem when spinning vinyl or CD’s since there was no hardware/software setup process you had to dial in to get things working seamlessly. You simply plugged them into your DJ mixer and were ready to go. For this reason I don’t see myself abandoning my CDJ’s anytime soon. They have continued to be a lifesaver when my computer or controller glitches.

Don’t worry, I in no way plan to abandon Ableton or controller technology. I love technology! My goal is to use technology to have a balance between the most options possible and the most seamless performance experience.

Just because you can, does it mean you should?

For me, when I listen to my favorite DJ mixes, there isn’t a whole lot going on. Usually there are subtle hints of EQ, filters, chorus, delay, reverb and looping. A great mix doesn’t overuse any of these fx and doesn’t tend to scream “Hey look at me, I’m doing stuff”! I don’t know about you, but when I listen back to a Live DJ mix of mine at a small club, I give myself a headache with all the trickery I add to try to keep people interested.  The real trick is to find the right audience who will appreciate what you do musically, then most of the overused gimmicks become unnecessary.

I wish you good luck in finding your own perfect balance for performing.

happy music making,

Jason

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For those interested in DJ’ing and Performing live with Ableton, I’ve released my full DJ collection I’m sure you’ll get a lot out of.

You can check it out now here:    Ableton DJ’ing and Live Performance Video Series

Here is the Video List below:

1. DJ’ing live in the session window part 1

2. DJ’ing live in the session window part 2

3. DJ’ing live in the session window part 3

4. DJ’ing live in the session window part 4

5. Make a DJ mix in the Arrange window

6. Warping with Autowarp (version 7)

7. Warping the hard way (version 7)

8. Warping in Ableton 8

9. Warping songs with live drummers (version 8 )

10. Warpless mixing

11. Organizing files for DJ’ing

12. Launching Clips without a mouse

13. Macro Controls

14. Setting up controller Knobs and keys

15. Preparing your productions for Live performance

16. Syncing Ableton on 2 computers

17. APC40 setup

Also included is my Ebook:

Mixing with your Mind – How to make your Best DJ Mix

(This Ebook goes where other DJ related books don’t. This concentrates on ways to use your brain for the fastest, most creative and most enjoyable results!)

Get it here now! http://tinyurl.com/24oqo6u

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10 Newbie mistakes in Ableton

Here are some common newbie mistakes people make when writing in Ableton. This isn’t all Ableton specific as some tips apply to music production in general. It also isn’t in any specific order and doesn’t necessarily assume to be the Top 10 of newbie mistakes. These are just some mistakes I’ve seen people make over the years and are certainly some mistakes I have made as well. If you are new to Ableton or cumputer music production, these should be of some assistance.

1. Assuming Ableton’s auto-warping will warp your songs perfectly :

This is a fairly common but huge mistake when working with Ableton. Although Ableton is excellent at warping loops without much trouble (as long as the loop is already seamless), a full song is a different animal altogether.

I suppose it can be pretty misleading to see an option called “Auto-warp” and wonder why your songs aren’t syncing up to tempo perfectly. While the auto-warp function does do a lot of the work for you, it’s your job to fine tune it so that every thing is 100% on. Learning this process  is the single most important thing you need to master if you want to unleash 95% of Ableton’s true capabilities.

Here’s are a few videos to get you started.

For Ableton 8:

http://www.youtube.com/watch?v=waLeq8-2UBo

For previous versions of Ableton:

http://www.youtube.com/watch?v=JddbTkyKVTE

http://www.youtube.com/watch?v=7AbfMe5Tklo

2. Recording parts on the same track in both arrange and session window:

A common mistake for people who are new to Ableton is assuming that the session window (the window with all the boxes for clips and scenes. Also home to the mixer) and the arrangement window (the window the most resembles other audio recording software) are separate entities.

For example you will have a clip on audio 1 in your session window but audio 1 in your arrange window is empty.  If you are new to Ableton it is easy to assume that it’s fine to record on that track in the arrange window but that would be a big mistake. You will quickly find that one of your parts is no longer playing.This is simply because you have put 2 parts on the same track at the same time.

Once you understand how the session and arrange windows are intertwined, it will make complete sense what is happening. The simple rule to follow is:

1 instrument per track.

Think of each clip in a track (audio or midi) as representing what 1 instrument will be doing in different sections of your song. For example, one clip might be for the intro, the next for the verses, another for your bridge and another still for a chorus.

If you have ever programmed a drum machine, clips are similar to patterns on your drum machine. When you want to chain those patterns together to make your complete song, you would do that in the arrange window.

If you are recording something start to finish (like a full vocal take), you would also want to record in the arrange window. The important thing to remember is that at the end of the day, everything will need to go into the arrange window before you mixdown (render) your song. If you are arranging your instruments from loops or recording separate parts of your song to arrange later (like with drums) you would most benefit from starting in the session window and then chaining those parts together in the arrange window.

*As a sidenote, some would argue that you can do everything in the arrange window, and I wouldn’t disagree, but i’d suggest you learn the basics of both windows and then decide what works best for you.

Here is a video that might make the concept a little easier for you:

http://www.youtube.com/watch?v=IZBVeNGU6_U

3. Too many loops or parts fighting for the same frequencies:

If you are building your songs with loops and samples, a common mistake is to think that the more loops you add, the more full and complex your song will sound. You are only half right though. It’s true that more layers can give your song more complexity and depth, but the downside is it can easily make your composition sound muddy, off pitch or just plain not right. Keep an eye on your fighting frequencies when choosing your loops. A good way to finding these conflicting frequencies is to use a spectrum analyser. Ableton 8 has one built right in, but if you are using an older version of Ableton, you can use one of this free plugin.

BS – Spectrum Vst

4. Not removing needless frequencies – Keeping on the subject of your EQ’s and frequencies, it’s really important to keep in mind what is the most important part of a an instrument and cut out the frequencies that aren’t needed. You won’t want 2 or 3 parts all playing a deep, heavy kick drum. You’ll need to choose which one has the best lows, and remove the low end from the other loops. Same with your hi frequencies. You’ll want to make sure your hihats are coming through clean by removing the highs from your othertracks. For snare and percussion in your mid frequencies, you may need to attenuate certain frequencies so that each part has it’s own space and doesn’t sound muddy. In most cases, you’ll find that popular music doesn’t have too much going on in any given frequency. Everything is balanced and that is what you want. The goal of this blog isn’t to tell you exactly how to dial in all of your EQ’s but rather to point you to where you should look if your songs aren’t sounding as good as you had hoped.

This video might give you the basic idea:

http://www.youtube.com/watch?v=AGFzYh_C7to

You can also read this Blog

5. Not arranging your songs in multiples of 4 :

Now I know that there are many other time signatures than 4/4 time but I just want to give  some basic tips here for people struggling with producing songs.  If you are struggling, it’s probably best that you learn to write in 4/4 timing before getting into complex time signatures.

That said, it’s very important in popular music and club music that you create your parts on multiple of 4 bars. For example, if you have a verse that goes 7 bars instead of 8 and then you jump into a chorus, it’s most likely going to sound all wrong. This multiple of 4 predictability in music seems very natural. Don’t try to get too tricky until you’ve successfully got this down. Once you know how things are “supposed” to sound, you can tweak the timing to create more tension successfully.

6. Doing your songwriting and sound design in the same session:

I’ve written a whole blog on this subject if you want to get deeper into this, but basically, you don’t want to be fumbling around trying to get THAT sound when you have a melody or bassline in your head. In the time it takes to create this amazing sound in your head, you will likely have lost the original idea that inspired you. It’s best to work fast with a template of sounds or presets that you have found to work for you and touch things up after the rough idea is saved.

7. Adding parts to compensate for bad sounding parts:

Each part in your song should be able to stand on it’s own. It shouldn’t sound crappy when you solo it. Of course I know that sometimes it takes a couple layers to get that certain Bass sound. It’s totally ok and even encouraged to layer your sounds but at the end of the day those sounds need to all stand together as 1 Bass or 1 Stab sound or whatever.

If you find yourself adding melody on top of melody in an attempt to make something sound “right”, you might be better off redoing your melody.

Make sure your drums, bass, pads, melodies and vocals all sound great on their own. You aren’t going to make good tracks by burying so-so parts deep in your mix. If you can break your song down to 6-8 elements, it will keep you focused on if you are adding too much stuff. You may end up with 40+ tracks in your song, but you definitely don’t want all those elements playing at the same time.

If you have 3 different melodies, you should only have one out front at any given time. Even complex songs should come across sounding fairly simple and there should be empty space between the parts. Put on a CD and listen to how many elements are going on at any given time. Notice how each sound has it’s space to come across clearly.

The less you have going on in your song, the bigger each sound is able to be. That’s why with a 3 piece band like Nirvana, each instrument can sound so big.

Regardless of the style of music, we are all limited to a certain frequency range. When you have parts fighting for the same frequency, both parts are bound to have to sacrifice something in order to fit into the mix.

Another way to look at building a song is to ask “What frequency am I going to fill in now?”, then you want to use a spectrum analyzer to find what works in that range. If you have 2 parts you like but they are taking up the same frequencies, perhaps you can take one up or down and octave so it has it’s own range. Once you have filled up your full spectrum you can see how strong each element is before adding any extra layers.

8. Too many options:

Having too many choices with instruments and plugin’s without having made yourself a “go to” collection can become a huge time and energy waster. It’s far better to have a few “go to” plugin’s and instruments that you know really well than it is to have 100′s that you aren’t familiar with. Using unfamiliar software can really slow you down and give you below par results.

Find 4 or 5 synths (or even less), 2 compressors, 2 or 3 reverbs, a couple delays etc.. Then take some time to find out what each one is really good at and build some “go to” presets. This will make things much easy and you’ll be getting the sound you are looking for much more quickly.

It’s fine to have lots of plugins in your arsenal but it’s best to find out what each one does before you start your songwriting process. Believe me when I say that I am writing this for myself as much as for you!

Before the days of free plugin’s and fast computers, we pretty much had to make due with whatever equipment we had. Given those limitations, it’s easiest to get to the process of making music instead of trying to fiddle with every toy in the toy store.

Another thing that you’ll find is that when you get comfortable using certain equipment, those limitations become your sound and gives you some consistency. Get your “go to” collection started asap.

9. Not making a template:

Templates are a saving grace when it comes to songwriting. When you have a setup that works with your favorite effects settings or your send/returns, drumkits, synths etc take the time to save it as a template songfile or to drag it to your presets for later use. This will save you loads of time trying to figure out how to get that certain sound you had before.

Fumbling through presets and setup takes time and can easily distract you from your goal: To get your ideas down while you are inspired.

Templates give you a basic setup with all your “go to” stuff included. You can even make different templates for different styles of music. Having several options will allow you to be ready to go regardless of what creative mood you are in.

10. Using low quality samples:

Using low quality samples with the intention to “fix it in the mix” is another big mistake. Now I’m all for lo-if and I’ve been known to use less than optimal quality sounds to great effect, but you need to make sure it works for your track and that you aren’t building your track off a bunch of lo quality sounds.

If you have to doctor it up with tons of effects and eq to make it sound decent, you should probably use a higher quality sound that has most of the tone you are looking for from the get go. For example, a kick drum that doesn’t have good low end from the start is never going to sound deep,punchy and professional.

Using a lower quality sound might not seem like it will make a noticeable difference, but just wait until you have a whole song full of these sounds and the overall quality will become pretty apparent to you.

Using mp3 quality is something I wouldn’t recommend. Generally speaking 16bit 44.1 should be the minimum you accept. If your computer can handle 24 bit recording at 96kbps you will likely hear a difference, just keep an eye on your hard drive usage. I personally stick to 16bit for most of my work and I get good results.

I hope this has been helpful for you.  Feel free to email me your newbie mistakes and I’ll consider updating this Blog to perhaps 15 newbie mistakes.

Happy music making,

Jason

Follow me: http://twitter.com/AbletonVids

Website: http://www.musicsoftwaretraining.com

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