Ableton Assignment AUD210A LO1,2,5,11
After starting up Ableton live, set the count-in to the desired tempo. A percussive sound should be created first as the base of any track. If the already default drum samples are not to your desire or taste, they can be created using the operator located in the instruments section. An operator is an advanced synthesiser that showcases multiple kinds of synthesis combinations such as frequency modulation (FM) and subtractive/additive synthesis.
-Kick
For the kick drum, we use FM synthesis since it contains a single dominant fundamental frequency that links together with other operators for adjustments to the harmonics.
To use FM synthesis, click on the coloured squares on the bottom right and the image on the left would be displayed. On the furthest left is the FM synthesis option since each block links to the fundamental (yellow) one. On the furthest right is the subtractive/additive as there are no links and single fundamental. Between the two are different combinations of both synthesiser that vary in links and fundamentals.
All oscillators are used to create the kick desired with fixed frequencies to prevent coarse or having to fine tuning the frequencies. A sine wave is used for the oscillators and the low frequency oscillator as a kick has fundamental frequencies, as well as sine waves do. Each oscillator’s level, frequency, and multi are adjusted based on preference, yet ensuring that a low frequency kick sound is audible.
In the envelope section is where the Attack, Decay, Sustain, and Release (ADSR) can be adjusted to your desired sound, and since it is a percussion sound, the ‘trigger’ option must be selected under ‘Loop’. Velocity must be first priority to be able to hear the changes taking place and an appropriate intensity. There should be no sustain since it is a percussion instrument that does not require such. Attack is kept at 0, and Decay is at 1.24s for the appropriate decay for the kick and release at 50ms so the sound would reverberate a little longer.
Finally, after filters are ignored (since tertiary oscillators where made to tailor harmonics in other frequencies to better suit the fundamental), Pitch envelope is enabled and adjusted to preference with 0 spread (as a kick does not need it) and -4st transpose to further complete the final adjustments to harmonics. The time is at 0 and Tone is low to keep the kick dark and impactful with less reverberation or ‘wooden’ sound.
-Ambient Sounds
Next, an ambient sound would be made through the Pad selection. Modifiers are added to further suit the track. Utilising subtractive/additive synthesis, the first Oscillator is a sine wave at a fixed octave with a slightly low semitone to fit the deep mood of the song. A filter is added to brighten the sounds with reso and a notch 2 pole filter since it had the appropriate frequency range for the selected sound (The ADSR is discussed later). The filter is also sent to the second oscillator to reflect the function at the first. The amp1 section has the level slightly lower to have the sounds in the background and panned slightly to the right to fill some empty sounds of the stereo image.
The ADSR of the filter is observed above and the Amp1 below it. The attack of the filter is at 340ms to have a slightly less sudden and harsh sound with a 1.51s decay, sustain 0.8, and 12.5s release for more reverberation and ambience sounds, holding it for a while with a smooth, fading tail. These cause the right frequencies of the filter to be explored. As for the Amp, the attack is 2.7s for a smooth top, and a 15s decay to keep it gradually long. Sustain at 0.53 and release 1.02s to further emphasise reverberation.
The second oscillator for the pad is louder than the first, with a saw wave and two octaves higher to compliment the frequencies of the first oscillator, and low musical notes in the pad. The filter is slaved to the first filter with a 12 band pass filter at a low reso and mid focused frequency to further emphasise the high tune of the ambience. The attack is 5ms with 0 sustain for the melodic part of the pad with the decay and release taking their time (as observed in the image on the left). The amp2 contains mid pan with low levels to prevent harshness, attack decay and release take their time for a number of seconds with a second of sustain on this oscillator.
As well there are two LFOs enabled at the end with two different waves, a sine wave for the first oscillator with a steady 0.5Hz rate, and triangle wave with a 1/16 rate and 0 width for the high octave sounds with the musical note symbol enabled to emphasise its melodic nature. At this point multiple oscillators have been used for this ambient sound and two octaves are played at two different wave types on the pad to make the desired sound for track.
-Bassline
Next, a bass-line is made using the operator with subtractive/additive synthesis for the bass-line is very similar to the kick with fundamental frequency, except it can use other harmonics to add more effects to the bass. All 4 oscillators are used with no fixed frequencies since a low frequency is needed, and a distorted effect is needed for this track to reflect a rock guitar sound, and it holding the main riff of the track. The waves used are sine 4 bit, saw 32, square, and a sine wave with all balanced levels to add more distortion fx to the bass-line. All velocities are set once again at 44% to have the changes made to the envelope audible. Attack is at 29.5ms with sustain at -14 db to have a smoother bass-line and and decays after a long 36.4 seconds to bring more attention to the distorted bass. LFO is also enabled in this process to give added focus to sine waves at a 66.48 rate with a good amount. A 24-band low pass filter is added to emphasise the lower frequencies of the bass. Its shaped in 4bit for a distorted effect and low frequency velocity for less harshness. Pitch envelope is also used to have a fixed low pitch tone, with a spread of 70% to have better presence in the track since it also hold the main riff of the song. The time and tone are adjusted for reverberation and brightness of the bass.
-Leadline
Finally, a lead-line is made using another operator, utilising all oscillators and then put into an instrument rack, to be able to add sends for fx or other modifications and manage the lead-line. FM synthesis is used to create the instrument. A triangle wave is used for the fundamental, distinct lead-line, and customised with odd harmonics at the other oscillators. No altered frequencies necessary, but a long ADSR to give a fluctuating effect to the sustain of the sound. The attack is at 0 yet the decay and release or around 8 seconds long for the fluctuating effect present. Velocity is relatively less to the other instruments to prevent too much intensity to the instrument, and sustain is at -51db to further emphasise the desired effect of the instrument.
An LFO is added with a sine wave to blend and relate to the other instruments of the track since no sin wave had been used previously to the oscillators; containing a rate of 64 and 25% amount. A 12-band low pass filter is added to reduce the harshness of the instrument with frequency at 2.29kHz and low reso. Spread is at 62% to have a wider stereo image for this lead-line. The tone is adjusted relatively high to brighten the lead instrument.
After all these steps, the sounds made can be saved for instruments and samples to be used in the future for future mixes and tracks, and implementing these instruments blend to made an appropriate and preferential rock/experimental track.
