Setting the BPM Range

Pitch bend and Pitch adjust with Live

Having grown up with vinyl based DJ’ing and with vinyl and CDJ’s still being the industry standard for DJ’ing, it makes sense to be able to mix between Live and decks or CDJ’s. To do this we need to be able to emulate Pitch Adjust and Pitch Bend.

From Live version 7 - pitch bend buttons have been included. You can easily map these to some midi buttons. It makes beat mixing to external sources much easier.

Marcus Wortley wrote an excellent tutorial which will help with choosing a suitable range:
"Live has a tempo range of 20.00 - 999.00 beats per minute (bpm) capable of any tempo down to the hundredth place (.01). This gives Live a total of 97,900 possible tempo states. Standard MIDI Control Channel (CC) messages have a range of 0 - 127, with no decimal resolution, and thus have a total of 128 possible states."

Depending on your DJ'ing style you can restrict your range by changing the MIN and MAX in midi map mode. This allows your midi controller to increase in desirable increments and it restricts your range to the tempo range you typically play in.

Here is some suggested ranges:

Using .als packs to DJ with

Using .als packs to DJ with

Your DJ template will be saved as an Ableton Live Set (.als file). However, we can also create .als files by selecting multiple clips from session view and dragging them to the browser. Once saved, they can be retrieved just as we would retrieve an mp3 file.

Why use .als files and not just mp3’s?
1. It's easy to do. Just drag the clips to your browser.
2. I control when the track moves to the next section. Eg: i can fire two clips at the same time DeckA moving into the main rif and DeckB moving into Outro. Gets around the problem of intro's that are too long or short.
3. Some tracks I might have a loop which I can play over another track until I am ready to bring the track in eg: Vox snippet of FX noise
4. Never have to fiddle with the clip envelope whilst playing (eg: turning loops on/off)
5. Have options as to how you bring a track in 1) loop a breakdown or 2) standard beats intro
6. Loop and extend a breakdown whilst you bring another vox loop from your next track in
7. Nothing to loose. If you dont want to use the .als then just load the mp3 or wav.
Possibilities are endless.

Example:
Beats 1
Beats 2
Main
Breakdown
Outro Loop
Mix Snip





Here’s how you do it….

1. First, Set your Global quantize to 1 bar. (near the transport bar at the top of the screen)
2. Load an mp3 into Live
3. Set the quantize setting on your mp3 to Global. (see the clip envelope.)
4. Right click on the file and select duplicate. You should see a copy of your mp3 in the next slot down
5. Go back to the first clip and Loop some intro beats say 1st 8 bars
6. Go to the second clip. Move the start marker to the 1st beat of a bar where the track gets interesting
7. Set the loop markers for a point towards the end of the track that has a little rif that you might play over your next track
8. Right click on that file and select duplicate
9. Make the start point at the end of the last clip and set loop markers right near the end of a track with just beats
10. Highlight all 3 clips. Drag and drop them into your browser where you keep the mp3. Save it as the same name
11. Now drag and drop it into Live as you would your mp3

There you have it. You now have:
Intro beats Clip
Main Track to Loop near end
Outro Beats

Highlight the first clip and press enter
Arrow down and press enter. At the first beat of the bar your track should move into the main part of the track – seamlessly
When your track reaches the loop at toward the end of the track arrow down and press enter
Your track should now move into the outro.

The possibilities are endless. Just experiment with a few tracks so you get the hang of it and then let your creativity fly.

Website Finished!!!

Somewhere along the electronic music production and digital dj'ing path I seem to have collected a passion for computer “geekery” that includes web and graphic design.

Some time ago a compelling impulse to build a website consumed me. This impulse was not satisfied with getting someone else to do it or using templates or stock websites. For some reason I needed to learn how to build a website myself. Many many hours and many battles with cascading style sheets, menu's, photo management and browser compatibility issues it's now complete .... at least until the next update is required.

Check it out here:
Soundtemple Website

2nd Prize Ableton Live DJ Comp

Lost in the Sound (ALDJ 10 in 10 Mix) - 23/7/07

My entry, Lost in the Sound won 2nd prize in the Ableton Live DJ Forums Summer 2007 competition (www.abletonlivedj.com).

Simulating a Keypress and hold with Bomes

Simulating a Keypress and hold with Bomes or Mouseless Session view navigation with Bomes

Simulating a keypress and hold is very useful when used in combination with navigation. If you are already using Bomes for navigation and you need to press a button each time you move down/up one level in session view or your library then this will help.

********************** Start of little side story ****************
First, a little story of how I got into using Bome’s. I used to DJ with Serato Scratch LIVE. Having acquired a pension for computer geekery and having no real scratching skills l decided upon a little project of making Serato midi capable. I found Bome’s Midi Translator (BMT) which enabled me to convert midi to keystrokes. However, I couldn’t work out how to replicate a keypress and hold with BMT. I needed this for Pitch bend and Pitch adjust. So, I contacted Florian Bomers who confirmed it was not currently possible, but could be implemented for a small fee. My birthday was around the corner so I decided to commission some software enhancements as a little present. Within a week I was provided with the new beta version of BMT Pro. It worked so well that I never used the Serato controller records ever again. So, simulating a key press and hold is near and dear to my heart.
*********************** End little story **********************

You will need BMT Pro or the forthcoming Bomes MT Player for this functionality to work.

It works in a two step process.
KEY DOWN:
Incoming Message: Midi button assign to the task
Outgoing Message Type: Key DOWN event
Outgoing Message: UP arrow (or Down arrow for down)

KEY UP:
Incoming Message: Same midi button as KEY DOWN
Outgoing Message Type: Key UP event
Outgoing Message: UP arrow (or Down arrow for down)


When making new translators always make the KEY UP first. It avoids key locks on the down side. If this happens press the BMT Panic button to stop them

*NB: On midi controller messages: make sure the desired button is set to send ON (Hex: 7F) when pressed and OFF (Hex: 00) when released. It wont work if you have is set to toggle ie: ON when pressed once and OFF when pressed a second time.

Download Rishis Keypress & hold BMT presets

Stacking FX in your DJ template using a Racks

Racks allow you to group devices. Most peeps like to have an assortment of FX available besides standard EQ and Filter. When DJ’ing it is important to be able to access these FX easily and control them without fuss.

My FX rack is a simple tool that allows me to:
1. Store all of my effects
2. Select any desired effect
3. Turn any effect on and off with one midi button
4. Control the primary parameter(s) with one or two midi controllers.




USING IT:
Drag and drop the rack into an audio track
Assign appropriate buttons/faders in MIDI learn to the following buttons in the rack:
1. Effect select **
2. Effect on/off
3. FX Parameter 1
4. FX Parameter 2

ADDING NEW EFFECTS:
Drag and drop your effect or rack into Rishi’s stacked FX rack
Click the midi learn button in the rack
Assign the on/off button to ON/OFF
Assign fader 1 to a control in the effect eg: Wet/ Dry
Assign fader 2 to a control in the effect if required eg: Feedback
Open the rack chain and set a unique width and location so it can be selected using the rack select

DOWNLOAD: Download Rishis stacked FX rack

** I set 4 pads on the trigger finger each with the same Channel # and Program # but with a CC number. The result is each pad will route audio exclusively through a different effect with the CC number corresponding to an effect in the rack chain. This way I don’t have to look at the screen to know which effect I am using. I just hit the button and use the fade to control parameters.

Why the trigger finger is a great MIDI controller...

A MIDI controller is an essential part of your DJ kit. It’s the hands on interface to your software based decks, mixer and record bag.

After experimenting with keyboards, BCD2000’s and Novation remotes I found that M-Audio’s Trigger Finger was a fantastic tool for DJ’ing. I love my Novation Remote and still use it, but not for DJ’ing. Designed for the drummer, the M-Audio trigger finger is also a great tool for the digital DJ. Here’s a few good things about the trigger finger.


1. It might seem easy in the bedroom, but using a midi controller in a live situation is 10x more difficult, so keep it simple. The Trigger Finger, is small but has well spaced and good quality knobs, faders and pads

2. It’s designed for the drummer not the studio engineer, so it’s rugged

3. It’s small and thin. It fits in my laptop bag

4. It is bus powered so I don’t need an extra power cord

5. It has 4 long faders which have a nice solid feel. They don’t slip and slide all over the place like some. The length means you have room to move

6. It has 8 knobs which are well spaced (this is important) and they are a decent size. They feel more like the knobs on any standard DJ mixer.

7. It has 16 LARGE velocity sensitive pads which can be used to program any midi function. Not all controllers are fully programmable eg BCD2000.

8. Most controllers cram large amounts into a small space. Big pads mean that you don’t need a microscope to see what you are doing.

9. It has 16 presets so, that means 64 pads, 32 knobs and 16 faders are available at the touch of a button

10. People will always say that controller doesn’t have enough buttons. I say keep it simple. Smart programming means fewer requirements for buttons and more fun!!!

It also comes with a software based tool called Enigma for programming presets which a lot of people hate. It remained an Enigma to me for some time. There’s room for improvement, but it does work well (most of the time). It just takes some time to get your head around MIDI programming. Prepare yourself to get to know midi if you want to be able to program any controller to do exactly what you want it to do.

In another post I will explain how I overcame the enigma that is Enigma

READ about Trigger Finger at the M-Audio website:
M-Audio Website

Mouseless laptop DJ'ing: Getting Started

Mouseless DJ’ing: Getting Started
Once you get started DJ’ing with live you will want to get rid of the mouse. Using Midi learn feature in live we can assign most things to a midi controller. However, we are limited to the items that Live offers as midi assignable.

Fortunately, live offers keyboard shortcuts for many things, but ideally we don’t want to be using keyboard combos either.

It’s not possible to do mouse-less DJ’ing in Live IMO unless an additional step is implemented. It requires converting midi from your controller into keystrokes, enabling your midi controller to send midi messages AND keystrokes to Live.

There are a variety of programs that do this. My favourite is Bome’s Midi Translator. Bome’s sits between your midi controller and Live. To explain, your midi controller sends midi messages to Bome’s. Simplistically, we tell Bomes to convert the midi message Y into keystroke Z. Bomes then sends the keystroke to Live to carry out the function. In reality, all sorts of combinations and rules can be applied to achieve amazing results. It all works unbelievably well.

I started with Bome’s when I set out to make Serato’s Scratch Live program midi-capable. I did it as an experiment and I had to pay Florian Bomers to add functionality that allowed me to emulate a key-press and hold. However, it worked so well, I never used the controller vinyl ever again.

In Live I use it to achieve the following:
1. Navigate the session view
2. Access the browser and navigate my library of tunes
3. Load songs into my template
4. Create the ability to pitch bend – equivalent to nudge, and pull on a turntable
5. Zoom in on clips
6. Adjust loop size and move loop braces
7. Select & control multiple effects in my stacked effects rack

The possibilities are endless. The application is essential for mouseless DJ’ing. Without it people are going to think you are checking your email.

In other posts I will make available presets for achieving these things.

Check out Bome’s Midi Translator
http://bome.com/midi/translator

Great sounding filters using EQ8

A great sounding filter like the onboard filter that comes with the A&H mixers is a great DJ tool. Live makes it easy to set up filters. Making them sound good involves a little more.

They basically work by sweeping away more and more low or high frequencies. The nice whooshing noise that comes with good filters is resonance or Q. To much resonance or Q sounds ear piercingly horrible and no resonance sounds just like a DJ EQ. (Q is a measure of the width of the frequency range altered by a peaking filter. The more Q, the sharper the peak)

Using Lives Auto Filter plug-in is one way to go about it. However, many people are using EQ8 to produce a nicer sounding filter sweep. I tried it and found that I liked it better than Auto Filter.



An alternative is the DJM800 emulations. These allow one knob to produce a low pass filter to one side and a high pass filter to the other side. The problem with these is that any midi knob has only 128 divisions. Dividing this by 2 leaves 64 divisions and I found that this left me with a filter that had to be operated like I was trying to wind my watch.



Download Resonant Filter using EQ8

Building a DJ EQ for Ableton Live

EQ is one of the DJ’s primary tools. Unfortunately Live doesn’t come with the perfect DJ EQ ready for use. It does however; provide the tools to create your own.

If you are like me and came from a vinyl DJ background, you will want to maintain some of the features of the standard DJ mixer EQ. Apart from all the obvious things it must include:

Flat at 12 o’clock. Ie: No gain or attenuation when your EQ knob is centred
More cut than gain. Most DJ’s tend to use gain more gently than cut. Killing frequencies especially the bass is commonplace, whereas we tend to use gain to match frequencies with another song or to provide more subtle emphasis.

At first glance Lives EQ3 appears more suited and is a simple solution to the DJ EQ. If you are happy with this then go with that.

Most however, agree that EQ8 sounds much better than EQ3. The problem is that it needs some work to be moulded into a DJ eq that meets the criteria above.

There are racks-a-plenty on the net with DJ EQ’s. I looked at so many I can’t remember where I got it. However, it does fulfil ALL the criteria above.

One modification I made was to link the EQ's frequency and scale parameters, so that EQ cut occurs at an increasingly dramatic rate, and gain occurs and decreasing rate. This way I can almost kill frequencies and I don’t need to be too gentle with the gain.




You can play around with the settings to suit yourself.

Download DJEQ Rack

Skins for Ableton Live

Having been used to the black interface that Serato uses, I found the standard Ableton Live skin too bright at night. Thankfully, some chap called Kilinikal developed and made available a wicked series of skins.

I use Kilinikal Blue.


A tip from me is to choose darker shades for your music clips. Light colours make it impossible to read the text. Eg: Light yellow is bad but darker yellow is fine.

If you want to make your own check out Sonic transfer’s Ableton Live skin editor:
http://sonictransfer.com/ableton-live-skin-editor.shtml

DOWNLOAD Klinikals Ableton Live Skins: Kilinikal Skins

Echo Indigo DJ Soundcard

Much can be said on the subject of soundcards. Most of it I was to discover was more relevant for producers of music who are recording external sources.

For DJ’ing purposes, reliability, portability and simplicity are key. If you have a laptop with a PCMIA slot then the Echo Indigo DJ card is absolutely fantastic. It is by far the smallest solution; it sounds great, works reliably and is perfectly suited to DJ’ing.

I have a much more comprehensive audio interface with multiple outs. This is useful when I route audio to separate channels of an external mixer – my DJM600 for example. However, in nearly all cases I prefer to use the Echo Indigo for DJ’ing and route all channels via the Master Out within Live.

Setting it up for headphone cueing is easy once you have the hang of the control panel. It’s even easier when you have Vinkalmann's Guide to using the Echo Indigo DJ Card.

I also set the control panel so audio from other programs like i-Tunes or media Monkey go to both outs at all times. This way I can listen on headphones or via my Monitors without having to switch any cables or plug headphones into another slot.

My version of the Camelot harmonic mixing wheel

Harmonic mixing avoids key clashes. Picking tracks that key well together is easy if you have perfect pitch. For those of us that don’t, help is available.

I use Rapid Evolution – a free music database tool that analyses music files and detects the key. More on this in another post. See http://www.mixshare.com/. More than just key detection RE’s powerful search facilities make it a great tool for managing your virtual record bag whilst playing.

For example: You can also save Mixouts. Mixouts are your own comments saved with tracks in your RE library. They tell you what tracks mix well with the one you are playing.

In Use example:
I limit my search results to the genres that are currently appropriate. Double clicking the track loads it into the current track section and displays any mixouts and comments as well as key, bpm, location etc.

The search results then modify to display all the tracks that are in a compatible key in my currently selected genre's. The result is one list of tracks in appropriate genres, that key well together.

….. back to harmonic mixing

How do we select songs that will key well when mixed together. If they are in the same key then no problems. But how do we select songs that key well together if they are not in the same key.

Well, we could commit to memory a table of tonics, Perfect 4ths, Perfect 5ths and Relative Minors or….. we can use a system of key codes developed by Camelot Sound called “EasyMix”. It assigns a code to each major and minor key based on the circle of fifths. When working with key codes, compatible keys will always be +/- 1 number, or with the same number and a different letter. Read this: http://www.mixshare.com/wiki/doku.php?id=mixing_harmonically

Now, I modified the wheel so that it was more visible in dark environments and matched my Ableton live skin. If you dont use it for DJ'ing it will be great for darts!!



Download Rishi’s version of the Camelot Harmonic Mixing Wheel

Rishis Camelot Mixing Wheel