Mixing with Ableton Live Tutorial By kapsil – v1.0 10/26/06 This tutorial is designed to give users a basic introduction to mixing jungle using Ableton Live. I made this using version 6 but the same principles apply in version 5 and for the most part in 4. I am going to show you a simple three tune mix using tunes with different types of intros. We start by opening Live and pressing TAB to switch to the arrangement view and setting our BPM to 172. Notice that I have created an audio track for each tune and expanded the track view in order to better see the wave form. Next, we drag our first tune from the browser into Audio Track 1 The first thing we do is go down to the sample properties window, change the warp mode to complex and select hi quality sample playback Live does a pretty good job sometimes of guessing the BPM of tunes and can give you a decent idea of the tune’s actual BPM, but for our purposes it’s much easier to clear all the warp markers by clicking the warp button off then on again. Notice how when you turn warp back on it sets the segment BPM to the master BPM. The most important part of accurately stretching the tunes in order to mix them is to have the first warp marker correct down to the sample level. So we drag the first warp marker as far to the left as we can and zoom in as far as possible to place the first warp marker exactly at the beginning of the track Now we zoom out and decide on which warp marker to edit next Since the beat starts at the 17th bar this would be a good place to set the next warp marker, so we go zoom in and listen to where the first kick drum comes in Live requires the markers to be very accurate in order to produce great sounding mixes so we must once again zoom all the way in to the sample level and place the marker on the zero crossing at the start of the kick drum For each tune, the wave forms will look different so there is no set formula to determining where you should place the warp marker, but after practicing for a little you’ll begin to recognize good places to place the warp markers quickly. Also, notice how the more warp markers we place correctly, the closer the segment BPM gets to the original BPM of the tune. After zooming out again, I see that another good marker to change would be 65, as it’s the first bar of the drop and easily distinguishable. When we zoom in, it’s obvious that even though our first two were correct, this one is a little off. Move the warp marker back to where the kick drum hits and zoom in as far as possible again to set it exactly right. Now, we go to a few other beats and fix the warp markers until, when zoomed in on, warp markers that have not been changed are correct. It is a good idea to change at least couple in the beginning, a couple in the middle of a tune, and a couple at the end. Notice how the more markers you change, the less you have change subsequent ones, this is a sign that you’re getting it right. Also, the segment BPM will usually begin to approach a whole number (in this case 170.00) the closer you get to accurately stretching the track. This is what our track looks like after setting the warp markers Now would be a good time to save your mix ;) I like to add an EQ Three plug-in (built into Live) to each channel to simulate a DJ mixer (I’ll go into more depth about it later on, but it’s a good practice to add one to each channel as you go, you can automate them later) Simply select EQ Three from the Audio Effects menu and drag and drop on onto each of your channels Next, we drag and drop our next tune about where we want it to start mixing in (in this case right after the second drop). Be sure to solo that channel while you’re working on it. Don’t forget to change the warp mode to complex, enable high quality sample playback again, and clear the warp markers Notice Live has miscalculated the first beat so we zoom in and change it Now, go through the tune like you did for the first one and change warp markers until they’re correct. Don’t worry if it takes a while, with a bit of practice you will be able to correctly warp a tune in less than 2 minutes. Practice. Practice. Practice! Our warp markers in place, we are now ready to see if we have correctly warped our first two tunes, or if it sounds like Optic’s latest mix :-x Drag your second tune to where you want to start mixing it in, I chose to start right after the 2nd breakdown. Remember to zoom in when arranging your tunes so that they start on beat and in phrase. Now is the moment of truth, unselect solo from the second tune and press play, if you’ve done everything correctly they should be perfectly beatmatched. I see that the first tune keeps going after the second tune breaks down and I want it to stop, so we automate the mixer to control the speaker of the first tune. Right click on the tune and select draw mode to easily draw in your automation. Notice that in addition to just being able to automate your mixer, the EQ Three plug-in you put on the channel is just as easily automated. The Speaker On automation is either on or off, but other controls such as volume and EQ Gain can be any value between 0 and 127 (so you have a lot of control) Our first tune now drops out when the second tune drops. But I also want it to sound like a real DJ mix so I automate the volume EQ Don’t forget you can automate all 3 channels of your EQ plug-in. Another trick I like to use is to use the speaker on and off automation in order to drop out a tune for a quarter or eight of a bar to create Bukem-like cuts. The automation and effects are where Live begins to be able to do things that are just not possible with vinyl or CDJs so have fun and don’t rush over this very important part of digital mixing. Finally, I’m going to show you the easy way to mix in a track with a long, ambient intro. This can also be used if you’re having trouble accurately finding the first beat of tune. First we load up our track, place an EQ on the channel, change the warp mode to complex and enable high quality sample playback. Notice how there are no beats until the 33rd bar of the tune. It would be stupid to try and warp ambient sounds when you don’t have to, so we set the first warp marker to where the beat comes in Once again, go through the tune and set your warp markers as before. After doing a couple successfully you should have a pretty good idea of what you’re doing.