This tutorial continues the techno fundamental
series. In the first video "More than a bassline"
I started the track with a basic techno beat
and synthesized a bass sound using Operator,
which in a few quick moves developed from
a deep sine wave sub bass into a more powerful
sound with a noisy edge. Now I'm moving onto
a new element, this time using Live's Analog
instrument, along with some effects processing
and real time control to create a deceptively
simple, yet powerful and dynamic sound which
will add a high level of energy and atmosphere
to the track. The idea is to create a simple
rhythm on a single pitch, and then create
movement and contrast by controlling the sound
in real time. This one note lead concept is
a common element in techno and is used in
classics like "Alarms" by Jeff Mills, and
also Christian Smith & I used the idea in
our track "Push Factor." Let's have a listen
to the track that I've got together so far, 
and then we'll take a look at the instrument
that we're going to build. So on track 1 I've
got a Drum Rack that I've built up with a
few custom sounds that are included in the
download for this, and I've got basic techno
beats- kick drum, high hats, claps, snares,
and then another variation where the kick
drum drops out, so I've got some stuff to
play with. And also on track 2 I added a shaker,
with a little extra layer of high frequency
percussion, and then there's the bassline
from the first tutorial that I can play with if 
I  need to, and finally on track 4, this is the 
instrument that we're going to make. There's an 
Instrument Rack with an Analog and a few different
effects inside, and I've got multiple parameters from
Analog assigned to the macros in the instrument rack. 
Alright so let's start building our
Instrument Rack. I'm making a new midi track,
I like using key commands- Shift + Command
+ T is the fastest way to do it, and over
to my instruments, double click on Analog
to load up the default, select that Analog
and I'm going to use Command + G to group
that into an Instrument Rack. So this is just
the basic default sound- simple sawtooth wave,
bright, a little buzzy, before I start really
getting into the sound design, I want to create
a simple, rhythmic pattern on one note that
fits with my bassline, that fits with the
drums, and try to make this sound in context
with the music. So, let's get the drums going,
the bassline, get this one out of the way
and focus on the new rack we're building. 
Now, which note do I pick? You could do this by
ear, I could also just pick one of the notes
I used in my bassline, there's an A sharp,
there's a G, there's a B. Let's try an A sharp.
Switching to my pencil tool might make it
a little bit easier to get a rhythm in quickly.
And I want to create a simple, a little bit
offbeat, syncopated kind of a rhythm that
fits with the way that the bass is grooving.
(Music)
That could work. Maybe I'll just do that at
the end. That's it, it could be that simple.
If you want to do something a little busier- 
I could try that. I think for now
I'm going to keep it simple, maybe I'll come
back to this idea later though, and switch
back to my mouse pointer, select those tracks
and hit 0 to mute the notes, and we'll just
concentrate on this basic one note, syncopated 
pattern. Now, I mentioned macros before, and what 
I want to do is set things up so I'm using both
oscillators, and I'm going to map each parameter
of each envelope to macros so I can control
the shape of those envelopes simultaneously.
And the envelope is really where you want
to start to put together the overall shape
of your sound. So, in the amp 1 section, what
I want to do is map the attack, decay, sustain
and release, each to it's own macro in the
Instrument Rack, and you can view those macros
by clicking on the show/hide macro control.
And I can either go into macro mapping
mode by clicking map, and then click on one
of the highlighted parameters to assign it.
Also, there's a shortcut which I use all the
time and that is right click on the parameter
you want to assign, and select in that pop up 
menu the macro that you want to map it to.
Before I start mapping these, it can be a little
bit confusing to remember which macro that
you're assigning to, it can be very helpful
to name the macros first. So I'm going to
go to macro 5, select that, hit command R
and then type attack. Then macro 6- I'm using
tab to switch over to the next macro- would
be decay, macro 7 is sustain, and macro 8
is release. Now let's start assigning the
parameters in Analog. So, amp 1 attack, right
click, map to attack. Decay, sustain and release.
Now, the sound just disappeared. That's because
these macros are all down at 0, so it brought
all those parameters down. If I want to get
my sound back, I'm going to increase the decay
back, to about where it was, 500 or 600, and
then also bring the release up to about the
same. Now let's get the second oscillator
going. Oscillator two is on, you can hear
that it sounds a little phasey now, there's
sort of a higher overtone. Right now both
oscillators are routed to the same amp. Right
there you've got the oscillator balance, what
we want to do is get the oscillator 1 routed
to filter 1, and oscillator 2 routed to filter 2. 
Now, right now filter 2 and amp 2 are off.
The way the routing works, you have to turn
on the amp in order to hear what's going through
filter 2. So let's turn on amp 2. Now we can hear 
amp 1 & amp 2, and both of these oscillators
mix together. And now what I can do is go
in and assign the envelopes for amp 2.
Now let's get some other parameters going that
will shape the tone and the timbre of the sound.
I'm going to turn on filter 1, and filter 2, 
set both of them to low pass 24, that's
going to be a steeper cut off, and I want
to add macro assignments for the frequency
and the resonance of both of these filters
to the same knob. Ok let's name those-
frequency and resonance. And then I'll go ahead, 
right click, filter 1 frequency, and resonance,
right click filter 2 frequency, and resonance. 
The sound disappeared again, that's because the
frequency cut off is all the way down at 30
hz, it's cutting all frequencies above that
out, all I have to do is bring the frequency
cut off back up. Bringing up the resonance
is going to accentuate the frequencies around
where the cut off is set. I also want to get
some movement in the tone, I will do that
by modulating the filter frequency with the
filter envelopes, and I'm going to also assign
those same attack, decay, sustain and release
parameters for the filter envelopes to the
same macros in the instrument rack.
And release, switch over to filter 2, 
it's real fast doing the right click. 
So, the envelopes are assigned, but 
we're not hearing the filter frequency
change, you have to set an amount for the
envelope to change the frequency. And that's
down here where it says "Freq Mod"- frequency mod, 
you've got an envelope amount. As soon as I bring
this up, we're going to hear the frequency get 
higher, and then sweep down with the shape
of the envelope. And right now that's just
on one channel, on filter 2. I also want to
map the same parameter for both filter 1 and 
filter 2 to a macro in the instrument rack.
Right click on the envelope in the freq mod 
section for filter 2, and map that to macro 3.
Live will automatically name the macros to the
parameter you've assigned to it. Once you've
started assigning more parameters to the same
macro it goes back to the generic macro number,
so that's why we renamed it to start with to 
keep things clear. And Command + R, renamed
to freq mod envelope. Now, the envelope range
is both positive and negative- when it's positive,
the frequency is sweeping up, when the envelope goes 
up. If it's negative it's going to go the opposite
direction that the envelope is going. And what I want 
to do is limit the range of these macros to keep
it in a musically useful range. And you do
that by going into the macro mappings, here
you can see each assigned parameter, and a 
maximum and minimum amount. So, for the envelope
amount, let's see let's organize these by
parameter, by clicking on the macro column there.
Right here where it says frequency mod envelope,
there you can see filter 2 frequency envelope, 
I want to make this so instead of going all
the way down to -16.00, it only goes down
to 0. It's a narrower range, and it's not
going to go into the opposite direction,
which might make the filter frequency too low, 
it might get muddy, and it will just make it
a little bit easier to tweak the sound. 
Let's do the same for filter 1 envelope.
(Music)
And let's check out what we can do with that.
(Music)
As I change these parameters, I'm listening
to how the sound is moving, how it's grooving
with the rhythm, how it's grooving with the
bass and the drums. So I've got the basic
sound started, I've got the shape that I want,
and I've got an idea of how the sound is moving.
By automating the shape of the sound with
the macros changing the attack, decay, sustain,
release, sometimes it's shorter, sometimes
it's longer, sometimes it's darker, sometimes
it's brighter with the frequency, this is
going to be the basic performance element
for the sound.
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