For years I've been teaching Ableton Live in the college classroom. As a University Professor, my classes are sought after, and, frankly, expensive. I believe Ableton Live can be learned by anyone, and cost shouldn't be a barrier. This class uses the same outline and syllabus I've used in my college classes for years, at a fraction of the cost.
This is Part 2: Recording and Warping
In this class we cover everything when it comes to recording in Ableton Live - including Recording techniques in general.
I will be making 6 (six!) complete classes in order to bring you the most comprehensive manual on Ableton Live production techniques ever created. Each class has Sets, sessions, and experiments for you to try on your own and follow along with.
And of course, once you sign up any part, you automatically get huge discounts to all the upcoming parts (the next 5!) of this class.
You will not have another opportunity to learn Ableton Live in a more comprehensive way that this. Start here.
J. Anthony Allen is an Ableton Certified Trainer, and a PhD in Music Composition and master of Electronic Sounds. His music has been heard internationally in film, radio, video games, and industrial sound, as well as the concert hall and theater.
He currently as an adjunct professor of composition at the University of St. Thomas, Macphail Academy of Music, and the CEO of Slam Academy in Minneapolis.
Praise for other classes by J. Anthony Allen:
An overview of what we will be covering in this section. Don't worry - it won't be all that technical!
We typically think of two things that we need to record: A computer, and a microphone. But there is one other piece of the puzzle that is essential.
Now that we know what our hardware looks like, in this section we will walk through how to set it all up.
What to look for in a microphone, the different kinds of microphones, and my personal recommendations.
Microphone placement techniques could be a whole other class, but in this video I'll give you a few tips to get a clean sound and avoid some common issues.
Back to Ableton Live! A brief explanation of Monitor Modes - very, very important for home-studio situations in which feedback could be a big (and dangerous) problem.
We will start recording into Arrangement View, using a single microphone (but multiple tracks).
Now that we can cleanly record a single microphone in Arrangement View, in this section we will look at recording multiple microphones at once - a situation you would need to record a band.
Now lets look at tracking in Session View. It is mostly the same, but has a few things that work different that you need to know about.
In this video we will talk about what will be covered in this section, and make sure we are all up to speed on some terms.
The hardware you need to do MIDI recording can be simple and inexpensive if you know what to look for.
Once we've selected our MIDI controller (keyboard or something else), we need to tell Ableton Live a few things about it to get it setup correctly.
In order to make sense of MIDI in Ableton Live, we need to understand a little more background about MIDI. In this video we will walk through what MIDI is, and what an "Instrument" is.
Now we can get down to business! In this video we will walk through setting up a track and recording into Arrangement View.
Now that we've conquered Session View for MIDI recording, we will now look over at Session View.
One of the biggest advantages that working with MIDI has is our ability to Quantize. In this section I'll explain what that means, and do a few demonstrations.
Warping is a powerful element in Ableton Live. In this introduction I'll explain some key concepts about it.
In this section we get into the real details of warping: Setting Warp Markers, and helping Live to understand the clip.
We can help Live to understand our clip a little more by adjusting the Warp Modes. In this video we will walk through the different Warp Modes and look at what they are best used for.
Sometimes we might want to warp a clip "incorrectly" for musical purposes. This tends to result in granulation artifacts, which can make some interesting sounds if you use them well.
A few parting thoughts, where to go from here, and things to explore.
The next class is coming soon!
Part 3: Producing & Editing is live! Here is the info on getting in!
You've come this far... maybe you are willing to go a little further...
When it comes to microphones, you need the right tool for the job. In this video I'll show you a case for when a nicer dynamic mic is not the right choice.
Someone asked: Can I record two tracks at once in session view? YES! This is how.
I've received a lot of questions about just navigating the time line (Arrangement view). This video is an excerpt from the next class (Ultimate Ableton Live 3) in which we cover Timeline commands, and some navigation tricks.
There is so much more to learn!
J. Anthony Allen has worn the hats of composer, producer, songwriter, engineer, sound designer, DJ, remix artist, multi-media artist, performer, inventor, and entrepreneur. Allen is a versatile creator whose diverse project experience ranges from works written for the Minnesota Orchestra to pieces developed for film, TV, and radio. An innovator in the field of electronic performance, Allen performs on a set of “glove” controllers, which he has designed, built, and programmed by himself. When he’s not working as a solo artist, Allen is a serial collaborator. His primary collaborative vehicle is the group Ballet Mech, for which Allen is one of three producers.
J. Anthony Allen teaches at the University of St. Thomas in St. Paul, MN., and is an Ableton Live Certified Trainer. He is a co-founder and owner of Slam Academy, a multimedia educational space in downtown Minneapolis. Recently, Allen founded Hackademica – an innovative net-label for new music.
J. has a PhD in music composition, 2 Master’s degrees in music composition and electronic music, and a bachelors degree in guitar performance. Through his academic travels, Dr. Allen has received numerous awards along the way.
If you run into him on the street, he prefers to be addressed as J. (as in, Jay.)