3/23/2023 0 Comments Ableton and expressive e touche“I think the project went great,” he says. Those are all really important things and I feel really fortunate that I found tools to help me to do them.” “Getting down into it, getting sketches fired off as quickly as possible, listening to your gut, to your ears, feeling what you are doing and not second guessing yourself. “That ‘workflow’ was most important,” he replies. So what did he learn from the whole process? Jeremy completed each of the ten tracks in time by fleshing them out in the Arranger Mode in Ableton and then mastering each with various iZotope plug-ins. It makes me want to make music in-the-box again, which is saying quite a lot.” It turns my software ecosystem into, essentially, a hardware workstation. And on top of that – and this is something I didn’t expect at all – it was giving me auto-mapped controls to a ton of parameters for every instrument it loaded. “On top of that, it was giving me results for plug-ins in the AAS and Arturia family, which opened up all those instruments in a new way. Being able to search for virtually any sound with a variety of metadata options removed the tedium of having to load a specific plug-in and hope the thing I wanted was going to be included.” What I was not prepared for, was the depth of integration with not only NI but also the entire NKS family. I was expecting the S49 to be a sturdy controller with integration into the library aspects of the NI ecosystem. “In the way that Push enhances my Ableton workflow, so KOMPLETE KONTROL completely enhances my plug-in workflow. Halfway through the assignment, Jeremy added a KOMPLETE KONTROL S49 to his studio, which revolutionised the process. I found Output’s Exhale, a KONTAKT instrument, which is just all kinds of vocals – pads, snippets, one-shots, sliced phrases – so it is on almost every track.” “One of the things that got me excited about this project,” Jeremy continues, “was that I wasn’t allowed to use full vocals, only snippets. I assigned the eight controllers in MASSIVE to those on Push and saved that as a template to open up whenever I started a new sketch.” In the Ableton template I put instances of BATTERY onto the first two tracks and MASSIVE onto another track. “I also used an Expressive E Touché, a pedal which is really good for expressive playing. “I started my sketching in Ableton Live with Push 2,” he says of the compositional process. Grabbing well-constructed inspiration from a single Expansion allowed me to focus on getting ideas down quickly, without worrying too much about whether I was ‘doing it right’.” The number one thing they provided was a framework from which to start. “I chose these expansions based on the descriptions on the NI website and the demos,” Jeremy explains, “plus they all represent genres I love. Jeremy decided that the best approach would be to use one of the Expansions series – including ASTRAL FLUTTER, HALCYON SKY, SOLAR BREEZE, METEORIC RISE, TIMELESS GLOW, and HELIOS RAY – for each of the ten tracks, using presets from each and a template created in Ableton Live. Jeremy’s music came to the website’s attention due to the popularity of his music gear videos, as he explains. When he decided to combine his interests and produce videos about studio gear, it turned out to be a life-changing decision, as it has led to him making music professionally for none other than YouTube itself, The huge video hosting website now has its own music library for which it commissions composers to produce music, which can then be used by other video makers to soundtrack their work. Jeremy Leaird-Koch is a musician from Seattle who not only has a keen interest in the gear behind music production, but also in making videos. Here Jeremy explains how he put together an incredible ten tracks in just over four weeks. The only place you can enjoy it is on YouTube, as part of the website’s music library, which is a collection of royalty-free tracks that anyone can use on their videos. Jeremy Leaird-Koch is thrilled to announce the release of his new album, but it’s not one that you can stream on Spotify, enjoy on Bandcamp or buy as a CD.
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