Showing posts with label music production. Show all posts
Showing posts with label music production. Show all posts

Sunday, March 15, 2015

Secret Options for Ableton Live

Secret Options for Ableton Live 

Options.txt file for Live
Live Versions: 1 - 9 Operating System: ALL
With the "Options.txt" file we offer a way to change some of Live's options for special circumstances. These options are mainly used for developing and internal testing. However, some of you may find them useful as well.


If you have questions, please contact support.


How to use Options.txt


First you have to create a text file called "Options.txt" in the same folder where Live's Preferences.cfg file is located. Here's where to find the preferences folder (Live 6.0.9 or higher):


Windows XP
\Documents and Settings\[username]\Application Data\Ableton\Live x.x.x\Preferences\
Windows Vista, Windows 7, Windows 8
\Users\[username]\AppData\Roaming\Ableton\Live x.x.x\Preferences\
Mac OS X
/Users/[username]/Library/Preferences/Ableton/Live x.x.x/
Please refer to the following knowledge base article for further information on how to access hidden folders on Windows and Mac OSX.


You can activate several options in the Options.txt file but use only one per line. The syntax is very simple; each option begins with a hyphen and some options also require an additional underscore (see examples below). If you use the wrong syntax you will get an error message when opening Live. You need to restart Live to activate the option. The file format of the Options.txt must be plain text.


"ReWireMasterOff"


Disables Live's ReWire master functionality.


Example: -ReWireMasterOff


"ReWireChannels"


Number of ReWire channels appearing in the ReWire master when Live runs as ReWire slave.


Default = 16
Min = 0
Max = 64


You must choose an even number of channels.


Example: -ReWireChannels=32


"PluginAutoPopulateThreshold"


Auto-populates the plugin parameter list if a plugin has a number of less or equal than X parameters


Default = 32
Min = 1
Max = 128


"-1" will always populate the list with max. 128 parameters, regardless how many parameters the plugin has (= similar to Live 7 behaviour)


Supported since: 8.1.1


Example: -_PluginAutoPopulateThreshold=32


"ThinningAggressiveness"


When recording automation data, Live smoothes the recorded data with a pre-defined value. The default value is = 0.45


Higher value = more breakpoints eliminated.


Example: -ThinningAggressiveness=0.1


"DontCombineAPCs"


Deactivate the APC combination mode: don't align and sync the session rings of multiple APCs so they can be moved independently.


Supported since: 8.1.4


Example: -DontCombineAPCs


"AbsoluteMouseMode"


Alternative mouse mode without resetting mouse position - useful for tablets, touch screens, remote desk etc.


Supported since: 8.1


Example: -AbsoluteMouseMode


Note: When enabling Absolute Mouse Mode, some actions that require relative mouse movements may experience problems, eg, fine-tuning a parameter while holding CTRL / CMD. Therefore we would recommend to only enable this option if other steps do not resolve this problem.


"EnsureKeyMessagesForPlugins"


This option solves a problem with certain VST Plugins (such as NI's Reaktor), where keyboard data does not reach the plugin.


Supported since: 7.0.2b3


Note: PC ONLY!


Example: -_EnsureKeyMessagesForPlugins

*sources

Monday, January 19, 2015

Frequency Chart for Music Production; twelve tone equal temperament reference table in hertz

Western Scales related frequencies for Tuning, Eq, Mixing Mastering, Music Produciton.

A western twelve tone equal temperament reference table in hertz. C4 is the middle C

012345678910
C16.35232.70365.406130.813261.626523.2511046.5022093.0054186.0098372.01816744.036
C#/Db17.32434.64869.296138.591277.183554.3651108.7312217.4614434.9228869.84417739.688
D18.35436.70873.416146.832293.665587.331174.6592349.3184698.6369397.27318794.545
D#/Eb19.44538.89177.782155.563311.127622.2541244.5082489.0164978.0329956.06319912.127
E20.60241.20382.407164.814329.628659.2551318.512637.025274.04110548.08221096.164
F21.82743.65487.307174.614349.228698.4561396.9132793.8265587.65211175.30322350.607
F#/Gb23.12546.24992.499184.997369.994739.9891479.9782959.9555919.91111839.82223679.643
G24.548.99997.999195.998391.995783.9911567.9823135.9636271.92712543.85425087.708
G#/Ab25.95751.913103.826207.652415.305830.6091661.2193322.4386644.87513289.7526579.501
A27.5551102204408801760352070401408028160
A#/Bb29.13558.27116.541233.082466.164932.3281864.6553729.317458.6214917.2429834.481
B30.86861.735123.471246.942493.883987.7671975.5333951.0667902.13315804.26631608.531
*sources

Monday, April 21, 2014

THE VIRTUAL MICROPHONE SYSTEM from SLATE DIGITAL Preview!!! This is gonna change recording for ever!!1

THE VIRTUAL MICROPHONE SYSTEM from SLATE DIGITAL. Using a super clean and transparent microphone and pre-amplification chain in conjunction with The VMS software, Slate recreates the color and character of some of the most beloved classic mic's and pre-amps used in the recording industry. Switch between a virtual 47 and a ribbon 121 and try them through different preamps. Or put a virtual 57 on a snare drum or guitar amp. Zero latency means you can record directly into your DAW using these virtual mics and preamps.





Audition dozens of microphones on any source to find the perfect match. Then pair your microphone with the ideal microphone preamplifier to finalize the recording chain. 


*sources*

http://www.slatedigital.com/vmspreview/
http://www.gearslutz.com/board/product-alerts-older-than-2-months/899723-namm-2014-slate-digital-introduces-virtual-microphone-system.html
http://www.ItchyTastyRecords.com

Wednesday, December 25, 2013

The classic Amen Break and its influence on modern electronic music.

The classic Amen Break and its influence on modern electronic music. 

The Amen break is a 6 second (4 bar) drum solo performed in 1969 by Gregory Cylvester "G. C." Coleman in the song "Amen, Brother" performed by the 1960s funk and soul outfit The Winstons. The full song is an up-tempo instrumental rendition of Jester Hairston's "Amen," which he wrote for the Sidney Poitier film Lilies of the Field (1963) and which was subsequently popularized by The Impressions in 1964. The Winstons' version was released as a B-side of the 45 RPM 7-inch vinyl single "Color Him Father" in 1969 on Metromedia (MMS-117), and is currently available on several compilations and on a 12-inch vinyl re-release together with other songs by The Winstons.
It gained fame from the 1980s onwards when four bars (6 seconds) sampled from the drum-solo (or imitations thereof) became very widely used as sampled drum loops in breakbeat, hip hop, breakbeat hardcore, hardcore techno andbreakcore, jungle and drum and bass (including oldschool jungle and ragga jungle), and digital hardcore music. The Amen Break was used extensively in early hiphop and sample-based music, and became the basis for drum-and-bass and jungle music—"a six-second clip that spawned several entire subcultures." It is arguably the most sampled drum beat of all time and unarguably one of the most sampled loops in contemporary electronic music.
 amen break waveform



In Modern Music - 

By 1990, at the height of British rave culture, the Amen break began to appear in an increasing number of breakbeat hardcore productions. Hardcore emphasized a unique, harsh, aggressive sound that drew strongly from hip-hop and early acid house. It added a hip-hop influence with the addition of breakbeats and increased the tempo. A strong reggae and ragga influence emerged in 1991 and 1992, with uplifting piano melody loops or Jamaican reggae samples used at normal speed layered on top of frenetic 150 to 170 BPM breakbeats. This sound quickly evolved to a point where sliced and diced drum breaks in conjunction with low frequency bass lines became the important features of many tracks. This style was initially referred to as Jungle but later, as it progressed and rhythmic elements were refined, the term drum and bass became more common. Around the mid-1990s a number of IDM producers, who had been influenced by the Jungle/DnB sound, began to focus on the style and started exploring it in the context of electronica. Making "danceable" club oriented tracks was not a prerequisite. In fact, the more outlandish and obscure the manipulations, the more aesthetically pleasing the records were to aficionados—a trend that continues to this day in the form of breakcore. The Amen break can still be found in many productions and there has been a renewed interest in the "old-skool" Jungle style in recent years. Luke Vibert, one of the many IDM producers who has explored this break, has released several records under the moniker Amen Andrews, using the Amen on nearly every track, heavily sliced and edited, yet recognizable.

It is also used by some cross-genre artists such as DJ Axera and Gomanda and in many hip-hop tunes, such as N.W.A's Straight Outta Compton.[5] The first Hip-Hop producer to dismember the drum sounds of the Amen break and reprogram them into a new pattern was Mr. Mixx of 2 Live Crew on their 1987 song "Feel Alright Y'all" from the Move Somethin' album, followed by the Mantronix sample-heavy track "King of the Beats" in 1988. The Amen break has also been used by rock music acts including Oasis ('D'You Know What I Mean'), Nine Inch Nails ("The Perfect Drug"), Rammstein ("Sehnsucht") . It can even be heard in the background of car commercials and television shows such as The Amazing Race, and Futurama. One other recent example can be found on rapper Lupe Fiasco's 2007 album, Lupe Fiasco's The Cool in a song titled "Streets On Fire".

Amen break notation.png

*sources*

Wednesday, October 2, 2013

Sasha talking about his production process on Involver 3

This video is Sasha walking through the process he underwent to make Involver 3 and is full of great information for music producers. 


Itchin to hear some tasty beats?
-Itchy Tasty Records
http://www.ItchyTastyRecords.com