1.
1 Introduction to Music Production And Ableton Live 9
Introduction
By the end of this lecture students will have learned the
following:
Will understand what exactly is Music Production
Understanding about Ableton live interface
Equipment which uses for audio production
Setting up live with your audio interface and MIDI controller
Must understand how to set the buffer settings in Ableton to reduce latency while
operating the DAW interface
What is Music Production?
Music production is the process of creating a recorded music project. A recording
producer usually handles music production, managing every aspect from Arrangement
to final product for the music industry. A producer's role includes being a critical part of
the creative process, deciding what instruments are used and contributing to song
arrangements. Since music production plays a vital role in the quality of the final
product, it can make or break the success of an album. And mainly involves Four main
steps, Arrangement, Recording, Mixing, and Mastering.
DAW's
There are many DAW's (Digital Audio Workstations) out there in the market the most
popular ones are Logic Pro, Cubase, Pro Tools, Studio One, Sonar, FL Studio, Ableton
Live, and producers are using them from decays and making unique sounds putting
records in music industry
Ableton Live 9:
Ableton Live 9 is the most popular DAW's out there in the market from the year 2000.
And we are Mainly focusing on Ableton Live 9 in this course because of its
unique interface which actually gives you the opportunity to loop, recording, mix,
transition, automates thing on the live situation.
Equipment which is used for audio production:
To start your own studio the main key equipment you will be needing is
Computer:
PC / MAC did not matter at all because both platforms work's for music production.
There are number of DAW Software out there in the market which works with both Mac
and PC and the software which we are using in this course is for both platforms the
world’s best-known software for sound production and live sessions Ableton live 9
works with both live stage recording and indoor studio work.
DAW's:
A DAW (Digital Audio Workstation) is a software package which allows you to work on a
digital platform for sound production and allows you to record, convert audio, make
drum beats, record a vast array of instruments; complete automation, sampling, mixing
and mastering, for your audio tracks and manage your digital file according to your
preference.
Audio interface:
The audio interface looks like a kind of digital box with various inputs, knobs, and dials.
It's essentially a mixer that allows you to connect microphones, headphones, monitors,
USB devices, (etc.) Audio interface has 48+ volts phantom power which is for your
condenser microphone because if you connect condenser microphone you will be
needing 48+ volts phantom power to make your condenser microphone work.Audio
Interface converts your analog signal to digital signal and sends to your computer and it
has best built-in pre-amps to record clean sound without latency. And there are different
kinds of the audio interface some have USB connectivity, Thunderbolt, firewire.
Studio monitors:
There are two types of studio monitors active monitors and powered monitors
Active monitor has built-in power amp and only need a power cable to get power
And for powered monitors needs a separate power amp to give them the power to turn
on.
But they work quite as same and gives you a very good low bass frequency and good
high-end as well
There is a different range of studio monitors 5-inch cone to 10 or 12-inch cone it
depends on you how big is your studio and you can choose wisely.
Microphones:
There are two types of microphones which are commonly used condensers and
dynamic microphones
Condensers are mostly used in the studio to record vocals and instruments because the
range of condensers are very sensitive and can pick a sound very clearly because it has
a large diaphragm which allows this microphone to pick good quality sound.
Dynamic microphone is mostly used for live stage but also use in studios as well but the
range of dynamic microphone is not good as condensers because it can only pick the
sound from near range only from 1 feet or 1/half feet so that why dynamic microphone is
excellent for live stage because of less feedback and allows good quality on live stage.
Studio Headphone:
There are different types of headphones which used in studio
Closed back headphone which allows you to get proper sound and don’t leak any sound
from headphone and good of mixing and mastering your projects as well
Semi-open headphone leaks a bit of sound from the headphones but have good
sounding as well not pretty good for mixing and mastering
Open back headphone is usually used for live stage because it leaks sound but have a
massive volume on the speakers of it great sounding from my perspective
Midi keyboards:
A MIDI keyboard is typically a piano style user interface keyboard device used for
sending MIDI signals or commands over a USB or MIDI cable to other devices
connected and operating on the same MIDI protocol interface. This could also be a
personal computer running software such as a Digital Audio Workstation (DAW) that
listens to and sends MIDI information to other MIDI devices connected by cable or
running internal to the personal computer system. The basic MIDI keyboard does not
produce sound. Instead, MIDI information is sent to an electronic module capable of
reproducing an array of digital sounds or samples that resemble traditional analog
musical instruments. These samples or waveforms are also referred to as voices or
timbres.
Not all MIDI keyboards are based on the piano style user interface. Many MIDI
keyboard controllers have pads or buttons that also send MIDI signals, and most pads
have a velocity sensing capability so that varying volumes of sound can be
played/voiced. Another such keyboard device is the Continuum Fingerboard which is
based on a "fretless" type keyboard interface enabling portamento style note changes at
will during play.
Connectors Cables:
There are lots of different connectors and cables which are used in studio and live stage
so if we go in deep description it will take a long time to understand how each one
works just going through with the main connectors used in live stage and studios XLR
and TRS connectors
XLR is used to plug in microphones and TRS jacks are used to connect your guitar
piano and other instruments
Pop filters:
A pop filter allows to manipulate all the pops, hops, bees, and sees, come out from your
mouth while you are singing or talking and send through clear vocals to your
microphone while recording.
Setting up live with your audio interface and MIDI controller:
Mac User's
Open Live 9 and go to the top left corner Upper bar on your screen and [Select Live] and new
dialog will open and [Select Preference]
after that new screen will be open [Select Audio] and select the preferred audio output and input
device of your choice.
Shortkey to open Preference's [Command,]
PC Users:
Open Live 9 and go to the top left corner Upper bar on your screen and [Select Options] and
new dialog will open and [Select Preference]
after that new screen will be open [Select Audio] and select the preferred audio output and input
device of your choice.
Shortkey to open Preference's [Ctrl+,]
How to set buffer setting and sample rate in Ableton and why this is
important?
Buffer Size
Buffer settings are essentially the rate of your input-output latency. If this is not setup
correctly while you are recording a track or working on anything, then it will cause late
feedback responses from the software output and input and be distracting for the user
during your workflow.
Mac User's
Open Live 9 and go to the top left corner Upper bar on your screen and [Select Live] and new
dialog will open and [Select Preference]
after that new screen will be open [Select Audio] and select the preferred Buffer Size of your
choice.
ROUND IT OFF: While some sound card drivers will adjust the buffer in increments of one
sample, Ableton recommends that you set your buffer to one of the binary “round numbers” that
we see so often on our computers: 64, 128, 256, 512, 1024, and so on.
Shortkey to open Preference's [Command,]
PC User's
Open Live 9 and go to the top left corner Upper bar on your screen and [Select Options] and
new dialog will open and [Select Preference]
after that new screen will be open [Select Audio] and select the Buffer Size of your choice.
ROUND IT OFF: While some sound card drivers will adjust the buffer in increments of one
sample, Ableton recommends that you set your buffer to one of the binary “round numbers” that
we see so often on our computers: 64, 128, 256, 512, 1024, and so on.
Shortkey to open Preference's [Ctrl+,]
Sample Rate:
The most common sample rate is 44,100Hz, or 44.1kHz, which is the sample rate for CDs
and most consumer digital audio.
Hz/ kHz
Hz and kHz in speakers
Frequency response describes the range of audible frequencies the speaker can reproduce
between 20 Hz (deep bass) and 20 kHz (a piercingly high frequency), which is considered the
range of human hearing. ... The lower the number, the more strain; most speakers are rated at 8
ohms, which is considered an easy "load.
Frequency Range Frequency Values
Sub-bass 20 to 60 Hz
Bass 60 to 250 Hz
Low midrange 250 to 500 Hz
Midrange 500 Hz to 2 kHz
Upper midrange 2 to 4 kHz
Presence 4 to 6 kHz
Brilliance 6 to 20 kHz
kHz for audio
In digital audio, 44,100 Hz (alternately represented as 44.1 kHz) is a common sampling
frequency. Analog audio is recorded by sampling it 44,100 times per second, and then
these samples are used to reconstruct the audio signal when playing it back.
Why is 44.1 kHz is the sampling rate?
Because of the Nyquist theorem, we know that the maximum frequency that can be
represented at any given sampling rate is half the sampling rate; thus a 44.1 kHzCD can
capture tones up to 22.05 kHz, while a 48 kHz DVD can capture tones up to 24 kHz
Mac User's
Open Live 9 and go to the top left corner Upper bar on your screen and [Select Live] and new
dialog will open and [Select Preference]
after that new screen will be open [Select Audio] and select the preferred Sample Rate of your
choice.
Shortkey to open Preference's [Command,]
PC User's:
Open Live 9 and go to the top left corner Upper bar on your screen and [Select Options] and
new dialog will open and [Select Preference]
after that new screen will be open [Select Audio] and select the preferred Sample Rate of your
choice.
Shortkey to open Preference's [Ctrl+,]
spaceplay / pause
qunload | stop
ffullscreen
shift + ←→slower / faster
↑↓volume
mmute
←→seek
. seek to previous
12… 6 seek to 10%, 20% … 60%
spaceplay / pause
qunload | stop
ffullscreen
shift + ←→slower / faster
↑↓volume
mmute
←→seek
. seek to previous
12… 6 seek to 10%, 20% … 60%
1.2 Overview of production within the music industry
Music Production and Audio Engineering role in
Music Industry:
Production and Engineering are vital parts of the industry. Any song, classical
movement, radio/television/film has to have impactful audio content in order to
maximize its potential interest value. The role of the producer in influencing and creating
compositions, and giving an Artists vision the proper direction it needs to express the
emotions of a musical idea is central. An engineers role of knowing the proper
techniques of recording with microphones, manipulating audio, analog and digital
processing etc while being able to think out-of-the-box and experimenting are what
makes all audio/musical content possible. Think of your favorite song; it is with surety
that many different people took the roles of Producer/Engineer at different times to
make the existence of the song possible. These hybrid processes, both creative and
technical are what drive the music industry and make it possible for us as musicians
and listeners to be inspired by our favorite music.
WHAT IT TAKES TO BE A MUSIC PRODUCER:
If you’re working on music production, you are essentially operating as a project
manager. They’re tasked with coordinating every aspect of the recording project and
managing all of the individuals involved. They generally direct the performers in
achieving a particular sound for the record and may determine its arrangement. In
addition, because they’re so deeply involved in forming the sound of the recording, they
may at times jump into play an instrument to supplement the band’s sound. They,
therefore, tend to be accomplished musicians in their own right and will be able to
communicate with and coach musicians on their own terms.
A producer needs to have confidence in their own ideas and be able to express them
forthrightly. In terms of personality, you would definitely need to be a people person.
Creatives are volatile by nature, and you would need to be able to create a harmonious
environment to keep tempers in check. Successful producers will also end up working
with a wide array of Artists and will need to be able to adapt to their particular ways of
working. Legendary House and Dance producer Mark Kinchen have some advice in this
regard: "...you may be working with people as diverse as Jay Z and Will Smith, and to
work effectively with them you need to be able to suss them out at an early stage..."
WHAT IT TAKES TO BE AN AUDIO ENGINEER:
Engineers are the practical counterpoint to the producer. Rather than shaping the
creative vision of the record, they instead work with the mechanical and technical
aspects recording, mixing and reproduction. While producers frequently have
experience as performers, engineers often hone their skills in the role of an
audio technician, a role that generally entails connecting mics, tracking issues with
audio equipment etc. In addition to working with equipment, audio engineers in a
modern studio environment will also be expected to know their way around industry-
standard DAWs such as Pro Tools and Logic Pro owing to the versatility of such
software. Engineers are often involved in mixing and editing the final tracklist with the
producer, and you’ll need to have the technical knowledge to do so.
In terms of personality, engineers will have a meticulous attention to detail and
particularly granular approach to making and recording music. If you love getting stuck
into the nitty-gritty of creating a record, then being music engineer may be the role for
you.
GAME AND FILM SCORING:
Scoring and Sound design are what give most visual content the impact they have, in
conjunction with the visual content itself. Simply put, Scoring is Music played to film and
video, in order to create the feel of a scene, and enhance the communication of the core
idea taking place. Brilliant composers like Hans Zimmer, John Williams, Joe Hisaishi
and their compositions are what give life to some of our favorite films and games.
Sound design and Foley is basically putting non-musical audio content in order to
enhance the impact of visual content; think the Transformers or Avenger movies, or
even your favorite movie. Anytime there is a slow-motion sequence, or a fight scene, or
even something mundane as work being done on a construction site on film, an
additional sound is synced with the video content to put the viewer in that space, and
the zone the scene is wishing to communicate. Foley by definition means fake, i.e. in
place of the actual sound an action may have made during the time of filming, it is
replaced by a different sound recorded and processed to give the action the feel that a
director has in his/her vision
Careers in music production
Studio Engineer
A studio engineer works closely with producers in a studio. Sometimes studio engineers double as
the producer and work independently.
Assistant Engineer
An assistant engineer usually works in a studio setting as well. They are often apprentices to studio
engineers who own or work in large facilities.
Recording Engineer
A recording engineer is someone who focuses specifically on the aspect of recording sound.
Game & Audio Design Engineer
A game & audio design engineer helps work with the sound engineering on video games, as well as
how to appropriately add sound to the game.
Mix Engineer
A mix engineer focuses on mixing together different tracks to mesh and create a new track.
Mastering Engineer
A mastering engineer smooths over the results of a mix engineer, making the final product as a
whole.
Live Sound Engineer
A live sound engineer works at live events to make sure the sound is of appropriate value and high
quality.
Monitor Engineer
A monitor engineer works with live sound engineers to help the performers at a live event hear
themselves.
Systems Engineer
A systems engineer manages the entire experience of sound at live performances. Systems
engineers manage both live sound engineers and monitor engineers and also work to set up the
entire live sound system at many live events.
Audio Post Engineer
An audio post engineer works to mix and edit audio for television and movies.
Radio and Television broadcasting:
Broadcast audio is a whole professional field on its own. The intricacies of broadcasting
a good mix, whether if just a spoken word radio broadcast, to a full band ensemble with
a 40-piece orchestra (think The X Factor or The Oscars) is a very detailed process and
requires congruence of multiple facets. One of the main tasks of broadcast audio is
signal processing which always has to be an online process, i.e. live broadcasts do not
go through post-production.
Music business of Recording Studios:
Recording and Mastering studios are the businesses that have the most conventional
organizational structure (possibly after Record Labels), as far as the music industry is
concerned. They are also very techno-centric in nature; complex recording equipment
such as preamps, compressors, monitors, and mixing consoles and microphones are
what these businesses are built around, along with, of course, their clientele. Many
famous albums have been named after famous studios (think of our affiliate, Abbey
Road, which is also the name of a critically acclaimed album by The Beatles). Studios
are also central to any and all recorded work produced in the industry and are the
backbone of the music industry.
Analog and Digital equipment in Music production:
Both of these types of equipment are a vital part of all music production in the 21st
century. Every mainstream song you hear on the radio will very possibly have parts
recorded and processed with both types of equipment. Even recordings made from
entirely analog equipment are edited using Protools and other DAWs, which means that
both Analog-to-Digital and Digital-to-Analog conversion took place in their production
(think Wasted Light by The Foo Fighters).
