Ableton Forum

Recorded audio uses up tons of space, I don't think there's much that can be done to get around that. I assume you're recording at 32 bit, 44100Hz? If you're just recording jam sessions, than my advice is to take an honest look at the jam sessions. If you know that the take isn't good enough for an ...

Making music is like a lot of other arts - to be/get really good at it you have to do it every day. I think a good comparison is writers. They may have days where they only write 5 pages over a few hours of staring at computer screen. Then they'll have days where they could do 100 pages in a day. Th...

On the Ableton website? They are also posted to youtube if you want to look at them there.

I also have many free introductory tutorials on my website here:

Introductions

I always use the high quality setting on Ableton's EQs. It's not rare for me to have things go through 3 EQs before they reach the master channel in my final mix (Original/Effect EQ -> Effects -> Final Production EQ -> Bus Effects -> Bus EQ), and I notice a large difference in quality if I don't hav...

If it sounds good, do it. Most of my mixes in Live do not mess the mids/highs when crossfading between tracks, and as a DJ I would rarely use the mid/high knobs during mixing. Using really properly warped tracks combined with harmonic mixing (see this link!) , it's often not necessary to touch the b...

Yes, the waveform in an audio clip expresses this exactly. Up-Down is the amplitude, and Left-Right is time. Otherwise the word you're looking for is an oscilloscope.

Are you exporting a different sample rate than you're producing at? My mixes sound terrible if I export at 48000 when I've been working at 44100.

I'm guessing it has more to do with the number of samples. Live can only be so smart, so if you have a MIDI clip that's spliced to 128 samples in a drum rack, Live at times has to sum all of the values for the amplitude of all of those samples, even though most of them are 0. So the math it's doing ...

Im not sure you guys understand. I placed a JJS vocal plug-in on return track A. I then took seperate recorded vocal tracks and turned up the A channel on both. One of the vocals sounds awesome the other sounds metallic. Both vocal tracks are using the same settings since its coming from the same p...

You can use sampler, with an appropriate note length in your MIDI loop (a bit shorter than the length of the clip) and adjusted attack and release times you should be able to make it sound like one continuous noise. However running water sounds aren't hard to find on the internet. I'd find a longer ...

I'll add some more tutorials. See these if you're interested in learning more: Tutorials explaining the fundamentals and how to use gates: Gate Effect Tutorials Tutorials explaining the fundamentals of and how to use sidechain compression: Sidechain Compression Tutorials See the bottom sidechain com...

1. Changing sets during live performance is bad practice IMHO. Put everything in one set. Do as much freezing/flattening as you can, and optimization to keep your CPU use low. This is a good guide of how to do this, though it may not be exactly what you want to do: Moving From The Studio to Live Per...

I don't know your room/building, but you could also look at reinforcing your walls, or changing out some of the material inside. Drywall isn't terribly expensive, so you might be able to take off one wall, add material/reinforce, and then rebuild the drywall of the one wall when done. Sometimes the ...

Here are some ideas for atmospheric effects: Atmospheric Effects Quick Ideas Also one idea is to take some background noise, cut out the bass, and then do very sharp boosts at the fundamental frequencies of a note that's in key with your track. For example If my track was in the key of C, I'd try bo...

I copy LFO automation rates from one Live instrument to another all of the time in Live. This is just a matter of select, ctrl+C, select where I want to past, ctrl+V. This even works for unlikely things like copying the LFO rate automation from an operator to the rate on an arpeggiator. However it's...