Ableton Set Download
Items & Things main man Marc Houle has been performing live sets the world over for more than ten years. Often working with unreleased and hence unmastered material, there were times he felt his set couldn’t match up to the sheer volume and density of whatever came before him. In his quest to step up to the full-fat sound, he decided to start an experiment to “throw a little hot sauce” onto his existing live set.
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- To set up ASIO4ALL, take these steps: Download and install the latest version of ASIO4ALL. Launch Live and open Live's Preferences - Audio. Choose ASIO as the Driver Type and ASIO4ALL v2 as the Audio Device: Click on Hardware Setup. The ASIO4ALL window will pop up.
“If I was following some DJs throwing out some pumping hard techno,” Houle explains, “I would follow up with my set, and a lot of my music was missing the sub bass and the layers of drums the DJs had. I decided to make a little experiment and make a bunch of sub bass lines and other beats to back up my regular set.”
This experiment became known as Buji Tek – so named after the sound of the rhythmic thrust of the subs and drums Houle was crafting to give his set extra impact. What started as a simple combination of elements rolling in the background behind his existing live set gradually gained complexity as he sought to make these embellishments more varied. Now that Houle has developed the project to a level he is happy with, he wants to share it with all Ableton Live users so that others can benefit from what he has created and push the concept further.
Download the free Ableton Live Themes Set #5. Get more free themes. Madeleine Bloom is an Ableton Certified Trainer, musician, producer, multi-instrumentalist and singer from Berlin. She studied Electroacoustic Music at the Franz Liszt Conservatory. For a few years she worked as a technical support for Ableton gaining in-depth knowledge of. Download Ableton Live Mixing Templates. Whether you're a novice, just starting with on your music production career, or a professional producer who knows the ropes, you'll know how important it is to get a quick start on a new music project.
Once the download has completed, unzip the ZIP archive file (PC) or mount the DMG file (Mac). Follow the instructions from this article and install Live. Once the installation is completed, open Live. To open Live, click the Ableton Live icon in the Windows start menu (PC), or double-click the application in Finder (Mac). Open the Pack description page and click 'Download'. Or download it directly from your User Account. Live packs download in the ALP format. Double click on the ALP file or drag and drop it anywhere in Live to install the Pack.
The layout of Buji Tek is relatively simple, comprising channels for kick, sub bass, noise bass, snare, sound effects and hats – all of which are loaded with a variety of audio clips. For anyone familiar with Houle’s style, the sound content of Buji Tek will be immediately familiar. However, the set is far removed from a static collection of loops. Houle created this set of sounds to work semi-autonomously in the background while he commandeers the components of his usual live set, and therefore the clips are set up with a multitude of carefully prepared Follow Actions, meaning that the same combination of sounds will never be playing for too long.
“It’s always morphing into the next beat,” Houle explains, “so you don’t get a loopy feel to everything. There is no real control over how things morph so it’s kinda fun and new to me as well.”
As well as cycling through clips populated with patterns Houle has generated, there are also silent clips in each channel which will sometimes trigger in place of audio, so that different parts get taken out of the mix at different times in the automatic triggering cycle. As Houle himself admits, “I’m not sure all my methods are the classiest, but for me it’s what I need.”
Marc Houle live at Space, Ibiza
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Copy/Paste your Registration Code into the box on Ableton’s register a product page and then click the Submit registration code button. Click the image above to enter your Registration Code with Ableton! Download and Install. Now that you’ve registered, download links for your Live software will appear in your Ableton account.
One of the key bits of automation Houle has engineered into the project comes in the form of the Effects channel. Using the Max for Live device Map8, he has created a range of two, four and eight bar effects fills from filter sweeps to reverb swells that can all be triggered by hitting an assigned key on the keyboard. He also created the Autopilot clip to fire off these effects clips automatically (after an appropriate length of time) to leave him free to focus on other aspects of the performance.
“When I play this thing on its own, it’s fun and everything but it was missing the breakdowns and filter actions that DJs do,” Houle points out, “so the effects automation was born. The only problem with this is that you need the Max for Live plug-in which won’t be available to all users, but then you can just do it manually.”
As well as the Effects channel, the whole sound of Buji Tek runs into a Thru channel that has a filter applied to it. Although of course this and any other parameter of the Live Set can be assigned differently, Houle maps the filter to a slider on his controller as well as assigning one to the master volume and one to the bass, allowing him to control how much presence the main sonic aspects of Buji Tek have in the mix.
Another of the subtleties in the design of Buji Tek is the Sounds channel, which defaults to a Send loaded up with the Deconstruct preset in the Beat Repeat device. “I did that to alleviate the constant 5/13 snare clap issue,” Houle explains. “It adds some snare rolls here and there to change things up a bit. I think in future versions I’ll expand on this a little more.”
For now though, he’s ready to release the project to the world, hoping to see it mutate as other Live users find ways to tailor the content and functionality to their own performances. Is there a risk other less adventurous users could simply roll out the existing template and pass it off as their own?
“The uniqueness of my sound comes more from my melodies and basslines so I’m not sacrificing too much here,” Houle suggests. “You could just run this thing on its own and stand up there and not play other tracks along with it, but it would be kinda soulless.”
There is perhaps a stigma that lingers around laptop-orientated live sets; that the technology is there to make it possible to do very little on stage and let the software do all the work. Undoubtedly artists have done so in the past, but Houle prefers to look at the positives in the situation.
“Even if someone did make a completely self-generating live set,” he states, “it would have taken lots of time to go through and prepare everything. I’ve learned to never shy away from technology and to care more about the possibilities than the downsides.”
Whatever the case, he sees the potential for this project to develop beyond his own imagination as it makes its way into the wider production community. Thus far he has put as much as possible into the project in between gigs and in the odd bit of downtime at home, but there’s more work to be done.
“The whole thing was pretty much a fun experiment so I didn’t go too crazy for this first version,” he admits. “I did enough for there to be a constant change and flow, but I could see this thing growing into some giant monster one day. It would be nice for others to add to it and add to it to the point where you hit play and, for weeks after, it just generates techno music.”
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How many times have you listened to an immaculately produced track and wondered how they did it? Perfect mixdowns can seem mysterious and unattainable, especially when you’re using the same production tools as a top-flight producer, but your results don’t sound that way. Perhaps a look under the hood of a big artist’s Live Set would shed some light on the techniques that separate stadium bangers from a humble demo.
Lucky for us, Dutch EDM veteran Laidback Luke has obliged our curiosity. You can download and examine the Live Set for his production “Stepping To The Beat” via the creative sharing platform Splice and see how it’s all done. You’ll need to sign up for a free account and download the Splice app to get at Luke’s Live Set, and try out his techniques for yourself.
We took the opportunity to chat to Luke about the Live Set, the perils of mixing in stereo, the importance of layering, and mixing down for club systems.
Download Laidback Luke’s Live set via Splice.
There is a whole lot of layering in this track. Are you spending much time working the EQs and envelopes to get these elements to sit together? Do you have any go-to methods for achieving balanced layering?
The key to proper layering is to find the gaps in the frequencies and then fill them up with sounds that specifically stand out in those frequencies. It can be as simple as saying, “Oh, my lead sounds a bit thin right now,” and then looking for an additional sound that has a lot going on in the 300-Hz range. If it were only those two sounds, I'd EQ out some 3 kHz in the 300-Hz-type sound. And in my thin lead, I'd make sure there were no 300 Hz sounds. This way, the two would fit together like the pieces of a puzzle. Group them in one channel, put a little bit of compression in there as glue, and they'll operate as one unit.
You’ve mentioned the importance of testing out your sub levels on club systems. Do you have any advice for those who don't have access to big stacks on a regular basis? Cheaper monitors with ported bass cavities can confuse your perception of the low end, so perhaps a good pair of headphones are more appropriate.
I produce everything on my SOL Republic Calvin Harris XC headphones. Even in the studio! So yes, I'm very much a headphones type of producer. You know what? Over almost two decades of producing music, I've developed such sensitive ears that I can't deal with the “sweet spot” in a studio environment. To me, having a sweet spot in a room means that if I move my head, the sound will change. My whole mix will sound different all of a sudden! I can't deal with that anymore. This gets eliminated by using headphones. Afterwards it's good to check on any system you can. On your laptop speakers, in your car, on your phone.
One main thing I do on my headphones in order not to lose track of excessive frequencies is to constantly A/B test my production with professional tracks that I know sound good everywhere. Those tracks are the law, your maps, your guidelines to a great sound.
So how they sound on your headphones is how your track should sound on headphones as well. On headphones, mixing in mono is key though! I always say: “Mono is the truth.”
The stereo image of a track can easily fool your ears. So basically I put everything in stereo at the very end of finishing off a track.
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How do you keep in touch with the energy levels required in the club when you're sitting in your studio? For some it's easy to lose perspective when you're on your own trying to imagine what's going to work for a crowd.
Absolutely, so that's why I can't stress enough that you need to keep comparing your work to tracks that you know sound good in a club. That's your guideline. If your tracks sound more subby, more mid-rangey or more intense than those guide tracks, you'll know you'll have some very wrong and harmful frequencies when you’re playing in the club.
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Keep up with Laidback Luke on his website and Soundcloud