Ableton Forum

eyeknow wrote:I dunno, I hear that argument all the time of "it's not the tools, it's the user" and what I'd add is if something isn't working, then how can you "work"? If your hammer is missing a part, you're not going to be able to build that house.

There are workarounds, but it does get annoying.

But I digress

passion, dedication and imagination trump everything else.

besides, every DAW has a hundred different hammers these days...

I have other DAWs. (Sonar, FL, Traktion, Studio One, Reason and a few others) I collect them like people collect VSTs. When it comes to working audio clips there is nothing like Live. FL Studio and Live are really great for sketching out ideas.

Anything you can do somewhere else, you can do in Live... maybe DAW X has feature Y and it makes it a bit quicker from point A to point B... but that is all. And each DAW has its strengths and weaknesses.

My suggestion: Find out why (specifically) your tracks don't sound as good as the ones you are comparing to.

If you have the drive and the talent to make good music, just about any DAW out there will get the job done.

But no DAW will give you the drive and the talent to make good music.

Drive and talent? Oh man, I've been jipped!

Curses to you ableton for not building that right in.

eyeknow wrote:Drive and talent? Oh man, I've been jipped!

Curses to you ableton for not building that right in.

From what I've read, it's the number one feature request for Live 10.

you prolly need to use a doiffferent daw. i used fl, reason and cubase, and I never liked any of them, in fact they turned me off of tryin to make electornic music because i couldnt manipoulate them the way that felt "natural" to me....

TomViolenz wrote:It's pretty simple: You have no talent.
Better look for a new hobby. I hear knitting is really fun.
You can thank me later!

oooooh - so nasty

After looking further into the artists im comparing to, its looking apparent that theres some ghost producing going on. Basically spoke to the guy behind the killer tracks, who kind of let a few things slip without mentioning any names. Explains a lot and has put my mind as ease .

JimmyRambo wrote:After looking further into the artists im comparing to, its looking apparent that theres some ghost producing going on. Basically spoke to the guy behind the killer tracks, who kind of let a few things slip without mentioning any names. Explains a lot and has put my mind as ease .

All that makes me wonder what your motives to make music are in the first place. It's not a dick waving contest you know?!
(Unless you do gangsta rap or hair metal that is )

JimmyRambo wrote:After looking further into the artists im comparing to, its looking apparent that theres some ghost producing going on. Basically spoke to the guy behind the killer tracks, who kind of let a few things slip without mentioning any names. Explains a lot and has put my mind as ease .

Ray Parker, Jr. used Ableton Live on Ghostbusters - he's got a lot to answer for.

TomViolenz wrote:

JimmyRambo wrote:After looking further into the artists im comparing to, its looking apparent that theres some ghost producing going on. Basically spoke to the guy behind the killer tracks, who kind of let a few things slip without mentioning any names. Explains a lot and has put my mind as ease .

All that makes me wonder what your motives to make music are in the first place. It's not a dick waving contest you know?!
(Unless you do gangsta rap or hair metal that is )

I suppose my main motives are the fact Ive been Djing at clubs and festivals for 4 years now, but its come to the point where im not interested in being a warmup Dj anymore. So investing most my time working on my own material to take me to the next stage.

JimmyRambo wrote:

TomViolenz wrote:

JimmyRambo wrote:After looking further into the artists im comparing to, its looking apparent that theres some ghost producing going on. Basically spoke to the guy behind the killer tracks, who kind of let a few things slip without mentioning any names. Explains a lot and has put my mind as ease .

All that makes me wonder what your motives to make music are in the first place. It's not a dick waving contest you know?!
(Unless you do gangsta rap or hair metal that is )

I suppose my main motives are the fact Ive been Djing at clubs and festivals for 4 years now, but its come to the point where im not interested in being a warmup Dj anymore. So investing most my time working on my own material to take me to the next stage.

I see, so making music (sorry, material) is a contest for you
Well, good luck with winning the prize....

1. nothing wrong with being a warmup dj. plenty of space to try out ideas that would kill a room later on
2. if you simply want to get better billing in club schedules you should focus on djing not producing
3. you don't have to produce tracks if you want to play your own music in that environment - just build up a live set with some drum machine patterns, samples and bass lines - throw effects over the top and just blast it out. it'll be exciting and you'll get to hear your music over a decent pa. you could even use warm up slots to get experience in that way of working. it'll teach more about about producing and composition than any number of online courses.
4. All this stuff about ghost producing is totally irrelevant. One day you'll be old and tired and you'll wonder why worrying about other people's credibility mattered at all.

Inversoundzzz wrote:this is just not true....not for professional electronic music..that is all itb. if it's you playing guitars and singing and recording into a daw, then yes, drive and talent will do with any daw. but if your whole musical output depends on the actual midi workflow, the way you sequence, route tracks, return dends, compression/all that, you need the daw to be totally intuitive to your brain, it has to be like a 3rd arm. you sit me in front of reason/cubase/fl's midi sequencer and it's like someone has chopped off 4 of my fingers and said "make music"

but yes, without drive and talent, you will never be a successful artist. being an artrist is a job. a fuill time job, its not sitting in front of a daw for an hour a day and 3 on sundays, it's at least 8 hours a day every day,

That's just not true at all. You act as if there were no "professional electronic music" before everybody and their grandmom could get their hands on a DAW. The problem with your statement about this is basically what makes living in this time so great, and that is the fact that we have soo many options. If you didn't have as many options as you we do now, you would know that you're absolutely wrong. In other words, if Reason, or Cubase, or FL was the ONLY way to make "professional electronic music", and you wanted to make "professional electronic music", then you would learn how to use one of those programs. As a matter of fact, you would learn to be quite proficient at it.

You're response to what I said earlier actually just proves the point that we are all absolutely SPOILED with options right now. This technology has turned us all in to "Gear Divas", and honestly, I'm starting to think it's absolutely ridiculous, and yet amazing and wondrous all at the same time.

I don't know how old you are, but I just turned 43 a few months ago. When I was a teenager, this was the closest thing that I had to a modern day DAW!!!!



A sampling drum machine cost about $3000, and probably on had 4 seconds of sample time, and I won't even get in to how much a synthesizer would cost, let alone the limited amount of polyphony that polysynths had back then. Most of them weren't even multi-timbral.