Live electronic and acoustic music production master

Module 1. Introduction

• Aims and objectives of the course
• Students and teacher introduction
• Student motivation and needs analysis
• Live demonstration showing what you can achieve

Module 2. Audio and Music Concepts

Auditory system and sound perception

Understanding how the sound works both physically and psychologically helping to create music of higher quality and greater impact sounds (essential materials for any sound operator).

• Audible spectrum and frequency bands
• Curves and loudness levels
• Pitch and timbre
• Loss of the fundamental frequency
• Sound sense
• Haas effect
• Masking effect

Physical principles of electroacoustic

How and what equipment are used to generate the sound, how sound travels between media and the physical and electronic treatment of it. This section seeks an approach to the generation and treatment of the wave sound.

• Oscillators and wave types
• Parameters that defines and characterises the wave
• Deterministic and random signals
• Noise
• Envelopes (AR / ADSR)
• Transduction between physical and electronic media
• Electronic applications in the field of acoustics
• Function generators and oscilloscopes
• Calibration testing

Digital Luthier HomeStudio 2.0

The production studio concept finds itself in constant change. The lower costs of equipment and acoustic materials gives the possibility to have a semi-professional studio at a low cost. This section demonstrates techniques for developing ideas and making the most of possibilities.

• Fundamentals of engineering acoustics enclosures
• Concepting the new Studio 2.0
• The importance of the listening hotspot
• Theoretical acoustic treatment
• Possibilities of conditioning for our own HomeStudio
• Location and connection equipment
• Wiring, soldering and impedance matching
• Connection between systems. Ground loop / Ground earth
• Power supply network: Triangle/Star types. Load balancing
• Analysis Workstation: Digital Luthier DigiStudio 2.0

Advanced Computing

Getting proper installation and maintenance of our system is crucial for rapid and creative improvisation and helps to optimize our workflow. This section shows the techniques and tricks to have your workstation tuned up perfectly.

• Dedicated workstation its programming
• Maintenance of work systems
• Disk management
• Correct installation of software
• Backup and boot disk

Synthesis

Electronic music is based on sound generated by synthesis. This section shows the inner workings and unlocks the full potential of the synthesiser tool. In addition all the tricks and techniques that give shape to the sound design are covered in this section.

• Oscillators. Generation and sumatory of pure waves
• Amplitude and frequency treatment
• Modulation envelope
• Synthesis types
• Low frequency oscillators (LFOs)
• Polyphonic / monophonic Systems
• Portamento and Glide. Applications and effects
• Filters
• Modulators
• Synthesis hardware
• Introduction to other models of synthesis
• Creating and managing presets
• Creating and managing libraries
• Synthesis in Ableton Live 10: Analog, Operator and Wavetable
• Alternative models in Logic
• Free and creative models

Evolution of electronic music styles from the 80’s

The correct understanding of the fundamentals of each electronic musical style facilitates the creation of different kinds of music helping to create musical knowledge of what you are doing. This section provides an overview of all kinds of music since the appearance of the first beats until now.

• Evolution of electronic music instruments since the early 80s to the present day
• Harmonic, rhythmic and melodic analysis of different electronic styles
• Harmonic, rhythmic and melodic construction of different musical styles

Music Theory

Regardless of the kind of music you are composing, an understanding of this subject is the key to knowing what you want to do and how to reach it efficiently. This section will transmit the musical knowledge required for the production of electronic music.

• Harmony, melody and rhythm
• Scale and tonality
• Key signature
• Intervals
• Accents and silences
• Chords and inversions
• Doubling and spacing
• Arpeggios
• Chord transitions. Notes of passing
• Modulations
• Syncopation / Groove / Humanisation
• Chromaticism. Dissonances. Enharmonics
• Plugins for non-musicians: Digital Luthier DigiChord

Musical Instrument Digital Interface M.I.D.I / Open Sound Control O.S.C.

Although its beginnings date back to the early 80s, this protocol is still ‘the king’ in any system for instrument control. This section will transmit the knowledge of wiring techniques and programming systems using this protocol.

• MIDI control systems throughout history
• Building and implementation of MIDI messages
• Ports, channels, parameters and controls
• Bank presets and program changes
• System configuration. Adjustment and balancing latency
• Setting and connection of hardware and software equipment
• External MIDI control and viewing
• CC assignment. Multiple assignment. Preset range of values
• Wiring, configuration and use of communication protocol OSC

Physical Control vs. Touch Control

What is better for our setup? TouchScreens, knobs or other types of sensor? The answer is: it depends “for what”. This section will look into the use of controls and undertake the study of the major differences between them.

• Generation and processing of sound in real time
• Physical Computing: Sensors
• Physical Computing: Actuators
• Physical Computing: Microcontrollers

Module 3. Recording, editing, mixing and mastering

Recording

To get final quality music production we first need to obtain excellent audio recordings. Understanding the techniques that support the recording concepts like the wiring equipment, recording formats, audio levels, environmental arrangement and recording workflow is vital. The determining factor is making the right decisions at the moment of recording audio. The right decisions are based on the following points:

• Audio recording systems throughout history
• Ideal audio levels for optimum and correct right recordings
• Measurement scales (VU, BBC, DIN, NORDIC, IEC, dbFS)
• Instruments and vocal recording techniques
• Recording audio generator equipment (synthesiser)
• Choosing and connecting the microphone
• Current audio recording systems
• Transitory response on an audio system recorder

Audio Sampling (Software)

The collection and expansion of your own audio library encourages personal and discerning musical taste and music production. This chapter will communicate the correct techniques for quality digitalisation processes in order for efficient sound storage and arrangement.

• Ableton Live 10 Sampler
• Digital tools configuration and setup
• Managing libraries, formats and protocols
• Sample editing
• Velocity, key and looping
• Multisampling
• Resampling
• Alternative free and creative tools

Audio Sampling (Hardware)

The collection and expansion of your own audio library encourages personal and discerning musical taste and music production. This chapter will communicate the correct techniques for quality digitalisation processes in order for efficient sound storage and arrangement.

• Analog to Digital conversion
• Dynamic range
• Resolution. Number of bits
• Sampling frecuencies
• Sound design. Creating personal libraries
• Editing and preparing samples
• Formats with and without compression
• Controlling hardware equipment trough Ableton Live 10
• Samples in nowadays
• Using the sampler in a creative way

Recording audio from Live 10 to Logic, Cubase and Protools. Bouncing to disk

The correct connection and compatibility between hardware, software and the different applications is crucial to guarantee the best performance in our system. This section “connects” our audio engine to other different native software through several protocols. This software and these protocols include the following:

• Connecting software between computers via Rewire
• Connecting equipment between them via Ethersound / Ethernet
• Importing and Exporting audio between workstations
• Simultaneous recording between both hardware and software

Dynamic, time and frequency processing with Ableton Live

Manipulating the audio once recording is finished is one of the most creative aspects when you are performing live. This section reviews all tools that are included inside the Ableton Live 10 Suite Pack.

• Equalise (Cosmetic and surgery treatment)
• Dynamic (Compression, Expansion and Limitation)
• Real time feedback (Delay, Reverb, Flanger, etc.)
• Technical and creative application
• Native plugins in Ableton Live 10 review
• Free and creative alternatives

Mix and Premix

Once finished, the next step is to mix every audio track and obtain a complete audio, a 'one track piece'. This final step depends on either, its use as a musical piece or by contrast, for Live Performance.

• Spectrometer FFT, Goniometer and Phasemeter
• The importance of phase
• Selective filtering
• Sum of levels
• Peak level vs. RMS level
• Suitable Mono vs. Stereo choose
• Multiple plugin chain
• Practical application

Automation “on time and off time”

This powerful technique records our movements and actions when touching the controls and other physical parameters. We can use this technique in both cases, Studio and Live Performance.

• Stereo balance
• Levels
• Individual clips
• Arrangement line
• Other parameters

Stereo and Mono bounce. Mastering

Now, the final piece is almost complete. This section analyses the correct protocol for professional completion of the final track.

• Final export to one or several tracks
• Parameters to bear in mind
• Preparing audio depending the mastering platform

Mastering, partial edition and equalisation

• Partial editing of each section
• Editing of possible corrections

Mastering, colouring and boosting

• Colouring
• Optimum levels
• Parameters

Mastering, compression and expansion by parts

• Seeking band cut frequencies
• Limiting and final energising

Mastering. Middle / Side (MS)

• MS processing
• MS Routing

Mastering. Analog vs. Digital

Compairing analog and digital sound, it is not a case of which one is better, but simply that they are different. This section will analyse the difference between both types of technologies enabling you to select the best one for you and your project objectives.

• Analog vs. Digital wave
• Vinyl disc mastering. Preparing the audio
• Vinyl disc mastering. Recording process
• Vinyl disc mastering. Physical consideration
• Compact disc mastering. Preparing the audio
• Compact disc mastering. Recording process
• Compact disc mastering. Computing consideration
• Hybrid mastering. Analog and Digital process

Adapting formats depending on the media type

Audio must be adapted in a different way depending on the media in which it will be played such as the car, studio, internet, radio, etc. Trying to reach the right balance between the different platforms is complex. Therefore, this section illustrates the different techniques to adapt the final result to the different media systems.

Module 4. Live music

Workflow

Generally the best ideas are spontaneous. Having the correct workflow helps to develop all ideas in a creative way and enable this to happen using efficient methods and tools.

• Optimising the available resources
• Creating work templates
• Method applied to the performance

MIDI clip as preproduction tool

A proper preparation of MIDI clips both studio and live setup adds spontaneity to our production in addition to taking control of the sound every time. The use of MIDI clips in our production favours improvisation without any limits.

• Creating neccesary clips to produce
• Individual automatisation of each MIDI clip
• Merging clips in blocks
• Creating MIDI clips
• Global structure of the final piece
• Drumracks and macros
• MIDI effects

Integrating video in Ableton Live 10

The integration of video in our audio live set is becoming more of a reality. This section is intended to attach and synchronise video with our audio set.

• Video formats using in Ableton Live 10
• Making and preprogramming video sets in Ableton Live 10

Modern and comtemporary DJing

Dominating the tools, spontaneity on stage, empathy with the crowd, these are all facets of a good deejay and therefore this section seeks an approach to these disciplines.

• Classic audio performing with turntables, compact discs, etc.
• Traktor / Serato
• Deejay hardware controllers
• Appropriate choice of audio material
• Planifying sessions
• Ableton Live 10 integration
• Adapting tracks to Live formats
• Hybrid systems setup: deejay set + Live set

Ableton Live 10 Suite edition | Ableton Push

This is the main audio engine of the master course and the most powerful software tool for live performance known to date. Despite this software being the central hardware and software tool around which the master course is based, this section aims to use all audio material created during learning.

• Ableton Live. The origins
• Description and software operation
• Connecting peripherals
• Drivers and software: Installation and configuration
• Hardware Push: Installing and setting up
• Controlling instruments: hardware and software
• Slaving devices through MIDI protocol
• Advance configuration

Liine LEMUR running in iPad and Android

The Lemur software aims to be our touch interface connection with the Ableton Live software. Since its conception, this tool has been the pioneer in both control hardware and software for Live performance. Now its new Pad version offers more versatility and it can be customised in order to fulfil live performance requirements.

• Lemur. The origins
• Description and device operation
• Connecting peripherals
• Software Lemur: Installation and configuration
• Hardware Lemur: Installing and setting up
• Controlling instruments: hardware and software
• Synchronising with other external hardware
• Synchronising with other external software
• Slaving devices through MIDI protocol
• Advance configuration

Reactable Live!

This new concept of musical creation has gradually infiltrated the dance floor. Despite being a combination of standard instruments, its complex configuration and live management needs comprehensive training for its use during the live set. This section seeks an approach to this new matter to wield the full potential of this device along with other tools.

• Reactable. The origins
• Description and device operation
• Connecting peripherals
• Software Reactable: Installation and configuration
• Hardware Reactable: Installing and setting up
• Emulation multitouch devices: Simulator | iPad | Android
• Studio interaction and real time
• Choreography and planning
• Audiovisual media
• Audio synthesis and audio generation
• Drums and step sequencer
• Sequencer, oscillator, instruments, Sampler/Loop LFO, Filter, delay, reverb, modulator, wave-shaper and compressor
• Audio and MIDI inputs
• Pucks: Sizes and shapes
• Creating audio waves from oscillators
• Playing predefined audio tracks and loops
• Melodic and rhythm patterns
• Manipulating and creating composition tools
• Inserting effects and interacting with pucks
• Main table controlling
• Linking sessions “on fly”
• Synchronising with other external hardware and software
• Slaving devices through MIDI protocol
• Advanced configuration
• Adapting dynamic ranges to media
• Main troubles on stage
• Optimum levels to work in Studio and Stage
• Tricks and advices

Ableton Live 10. Max for Live.

Increasingly, it takes more and more versatility, flexibility and all round knowledge for musicians and producers to design their own tools. Using Max / MSP makes this task easier . The aim of this section is to convey knowledge of basic engineering for the design and prototype implementation of software projects.

• Introduction
• Programming fundamentals dataflow
• Examples review
• Programming fundamentals and data
• Creating audio and video tools
• Using audio and video templates
• Creating a live patch

Module 5. Final project

Creating a musical track in Live 10

• Musical developing of an idea
• Using native resources of Live 10
• Using external resources of Live 10
• Creativity and technical
• Bounce to subtracks
• Mixing
• Mastering

Creating a remix of musical tracks in Live 10

• Musical structure
• BPM. Sample streching
• Exporting clips
• Styles, patterns and clichés
• Using native resources of Live 10
• Using external resources of Live 10
• Bounce to subtracks
• Mixing
• Mastering

Configuring of Live 10 for Live

• Slicing samples for Live
• Configuring specific hardware
• Connections. Interfaces
• Optimisation of resources
• Latency. Delay compensation
• Viability of the project
• Live demonstration of the approach
• Including Live 10 video engine in our setup

Final project and thesis

If anything above interests you or you would like more information, do not hesitate to contact me on ableton@danielcantero.info I can give full and easy to follow explanations of the course modules enabling you to decide the best level of training for your needs.