Good spot Jay - looking into this now.
Why is it that you prefer to route everything to seperate busses instead of just grouping them and treating them as a bus in that way?
you can still control the velocity when youre inputting the midi pattern for the sample.
I tried that, but it still didn't work. I've messed around with other stuff. I know putting the samples in a simpler vs. a sampler will allow you velocity control. Thanks for the reply.
I think modes is making things too complicated. If you look at the Circle of 5ths you will see that each implication chord Vincent plays is in fact the relative major of the chord it is implying. So C minor's relative major is E-flat major and G minor's is B-flat and so on. In the track the major chords are using the 2nd inversion with an added 7th...all the notes therein are in the scale of the implied minor chord leaving you free to make a slash chord with the left hand (i.e. playing a bass note other than the tonic of the chord using any of the notes from the implied minor's scale). I wouldn't worry too much about all this though as there are more vital things to be learning and for certain genres of dance music you don't need anything other than the basics of music theory. Good video.
it's the velocity sensitivity control. by default it's not listening to velocity a lot.
it is actually quite a bit simpler than that. He never said this was C major, he said C. The chord he is making here is a Cmin9. This is made up with the I(C) min3(D#) 5(G) min7(A#) maj9(D)
oh, one thing i forgot here. the reason to use sharps instead of flats is in what note is being modified. the goal is always to have one of each letter. the note being modified, for instance, was A. Calling it Bb would mean you woudl have Bb, B...you typically want to avoid that.
Wow,thank you.It's very nice!
In fact, all the implication chords are minor 9ths. Useful site for working out chords: http://www.scales-chords.com/c...
The video blacks out in tutorial 7 at 24:19 to 27:39, just when Vince is demonstrating the step layering effect. Any chance of fixing that?
good spot - i am re-rendering this now - it should be available before tomorrow afternoon.
That's what track grouping is for, after all. Maybe Vince made his workflow at a time when grouped tracks didn't exist in Ableton.
Just finished the tutorial and have to say, in the words of the master, it's "absolutely fantastic". I smirked at first with the obsessive EQ-ing each track, and each group track (my crappy headphones still can't pick up all the differences), but the further you go in the build, the better everything fits together. The mid-boost on the master channel in the last 15 minutes of the tutorial alone is an amazing ear-opener.
With quality sounds (those Omnisphere strings!) and carefully dosed frequencies, he's like Jamie Oliver whipping up a meal with just a handful of ingredients.
In addition to the EQ-ing tips, the great chord progressions/layering and the handy multisample quick-scan in a drumrack, I have to praise Vince on his skill as an artist in putting the parts together to create a unity of sound. I've made my own variations of the clips, but ... mwaah ... they don't quite gel as they should.
Still, plenty of inspiration to keep me going. Thanks, Vince!
Are there any recommendation for additional infos regarding the implication chords? I would love to learn more on that stuff!
I rate these videos highly, and they're stacked with good insight. I learned a lot about how to get that mellow sound, and thought the tips on eq'ing the piano were especially helpful. I've just got to say a thing for anyone else who may be confused and looking for further information.
'Implication chords' don't exist. Implied harmony is a thing, but that is using a melody to imply an underlying harmony. Mr. Watson uses minor 9th chords with an open voicing in the bass. Moving the bass note around to change the chord is easy and common to do with lots of different chords. Play a C major in your right hand and with your left, play a low A. You've got an Amin7 with an open voice in the bass! Play a low F, and you have F9no3. When you have 4 notes on top, you can do even more, like in the video.
Anyone's free to call these things whatever they like, I'm not finger wagging. This is just for anyone hoping to get more info on that harmony.
it was available in his version - you can see it in the context menu Group tracks is there as an option when he selects... but oh well. Guess Vince likes taking the bus! :)
Agreed with the mid-boost! Makes such a difference.
Another great tutorial. Plenty here that can be put to good use.