I like this and, of course, it’ll work with third-party instruments and effects as well. Now you can start playing your keyboard, and get to work with the various MIDI effect devices, like Arpeggiator, to keep loading different sounds for each note that plays. Now you have a separate zone for each chain in the rack – and each sound will be triggered by a different note. Right-click in the Key Zone Editor, and choose Distribute Ranges Equally. If you really like to mess around with racks, create an instrument rack with 128 chains, each containing a different instrument sound. What makes it extra cool is that, of course, you can build in an element of cross-fading between sounds as well, so it doesn’t have to be strictly one sound or the other (drum racks have a kind of comparable function, where incoming notes can be remapped to other notes). Using note pitch to trigger specific instrument sounds within a rack is very useful, especially for ‘real’ keyboard players – I know a few touring musicians who use this type of setup. These two controls on each oscillator are enough to make a big difference to the sound of Operator. Each oscillator (or operator) has Coarse and Fine tuning controls – Coarse generally providing more pleasing sounds, while Fine produces more edgy ‘inharmonic’ sounds. The Re-Pitch Warp mode is great for song transitions – much as I usually mask BPM changes in song transitions, sometimes it’s fun to do the opposite and have a few choice samples that pitch up as you increase tempo between songs.Īs far as Live’s instruments go, the Operator synth is a perfect example of how pitch and transposition controls can be used creatively. If I want more involved harmonies, I’ll use iZotope’s Nectar 2, which is a great plug-in, designed primarily for vocals, but fun with instruments too! On the hardware front, the Eventide PitchFactor is a very cool and not too expensive stompbox-style harmoniser if you want something more physical. There are various ways we can create harmonies in Live – instrument racks, multiple copies of audio clips across a scene or in a track group, the Chord MIDI effect device or the Apple AU Pitch device (put it on a Return track for the coolest harmony mix options). Try it with that audio drum loop in track 1 of our example set – combine it with project tempo changes to get the full benefit! The Transpose control in the Sample box is MIDI-assignable – once assigned, it applies to the currently selected clip or group of clips. However, they also serve very practical purposes, such as the new Tuner device, and the way that the Pitch MIDI effect device can help you to shift the root of a song to better fit with a certain vocalist’s range, for example.Īs with project tempo changes, transposing an audio clip is one of the times when you can most hear the difference between how the different warp modes behave. Live’s transposition and pitch controls are primarily creative tools, meaning you use them to create noticeable sonic effects, with the MIDI plug-ins and within the software instruments. Because these tools let us be more spontaneous, and can be accessed mostly through hardware controllers, rather than being based on drawing with a mouse, they are equally useful for improvisation, performance and composition. Ableton Live isn’t so much about MIDI programming in a way you’d recognise from programming with other DAWs – it’s more about using dynamic control, automation and MIDI effects.Īnd because… well, because Live is Live, we can exercise a huge amount of real-time control with audio samples as well, just as easily as working with MIDI. With some people, there’s still an idea that Live is weak at MIDI programming – and it is, if you’re looking for the familiar tools from Cubase or Logic.
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