In my case, the reason to use the Clip Scrub control as described yesterday is to save space in the Session view. In an earlier tip, I talked about breaking a song into 4 clips to have unique launch points for performance. The problem with having every song broken down into 4 clips is my […]
THE OTHER NUDGE
A number of weeks back, I wrote a couple of tips about using the Clip Nudge controls to navigate within your clips during a gig. (see: The Big Nudge and The Little Nudge) What I didn’t mention is the extra mappable area that appears in between the nudge controls when you’re in the MIDI map (see […]
DRAG AND SWAP
If you’ve gotten into using a Sounds Project or a non-library location for storing your presets, you may have found that using hot-swap is not entirely smooth because Live directs the browser to the default preset location, leaving you to locate your custom preset folder manually. That’s why I drag and drop instead. To replace a […]
FLIP IT, DUB IT
So far, we’ve just been looking at ways to use the crossfader-effects trick with pre-fader sends. You can also have some fun crossfading to return tracks when using a default post-fader send. Remember, the difference between using pre-fader (Send A) and post-fader (Send B), is that when using the post-fader send, the source signal will […]
SHIFT THE BEAT, KILL THE KICK
The beat juggle trick described yesterday works well for all sorts of music, but not all types – it’s often problematic for house, techno, or any sort of groove based around a straight quarter note kick drum. The straight kick rhythm is so dominant, that turning it around even briefly can really upset the flow […]
INSTANT BEAT JUGGLE
One simple and incredibly fun way to use return tracks with the crossfader is for simple beat juggling. To do this, throw a Simple Delay on the return track set up like this: All you’re doing is using the delay as an 1/8 note offset, so every time you flip the crossfader, the signal is […]
ONE BUTTON, STATUS AND CUE
One thing I find is that no matter how big, or how many controllers you have, you’ll always run out of buttons or knobs. Somehow, you always use them all up. To solve this problem, it helps to find simple ways to get multiple uses out of individual controls. I just discovered a very simple […]
MORPHING FILTER
The morphing filter that I’ve been referring to over the last couple of days consists of three chains: a high pass filter, a band pass filter and then another high pass filter. The zones are set up like this: The first high pass filter quickly crossfades into the band pass, then a slower fade into […]
PREPARE TO MORPH!
Earlier in the year, I spent a few tips building a Bi-Mode Filter, which is an important part of my performance setup. It’s not my only filter though – the bi mode is only used for tracks which contain beats or entire songs. For tracks which contain vocals or samples, I use a morphing bandpass/highpass […]
LOOPIN’ AND PUNCHIN’
As I mentioned yesterday, when working in the arrangement view the loop brace is used to set the boundaries for both looping and punching. For my money, the easiest way to set these boundaries is using the Loop Selection command. First highlight a clip or region of time: Then, from the Edit menu (you’ll definitely […]
