Kickin' it with JT from the Off Centre Camp. In this video we explore some details of how to combine multiple sounds (in this case kick drum samples) to make a fuller sound. Learn more about producing at Off Centre.
Kickin' it with JT from the Off Centre Camp. In this video we explore some details of how to combine multiple sounds (in this case kick drum samples) to make a fuller sound.
Learn more about producing at Off Centre:
Have you ever heard of Ice Cube or Dr. Dre? What about the Beastie Boys, Aphex Twin or P. Diddy? If any of those names sound familiar, you’ve doubtless heard the Roland TR-808 Drum Machine more than once or twice. First launched as an affordable alternative to Roger Linn’s LM-1 Drum Computer in 1980, Roland’s TR-808 began it’s unlikely rise to success as a financial disaster. For all its merits, the 808’s deeply electronic sound garnered little interest among production enthusiasts of the day; even being priced at less than a quarter of the value of its competitor, Roland’s offering simply couldn’t compete in the larger market and was discontinued just three years after its release. This failure to launch, however, proved to be a great asset for the next generation of producers, who were suddenly able to pick it up on the cheap at their local pawn shop or electronics reseller. By the end of the decade, the venerable drum machine had formed the backbone of some of the most popular hip-hop, techno and electro tracks of the day, some of which you can check out here: http://flavorwire.com/433944/10-great-songs-built-around-the-808
So what makes the 808 so great, and so ubiquitous, even 30 years after it entered the market? Perhaps known most commonly for its booming, compact kick drum or its strikingly bizarre cowbell, there are sounds on the machine that are as iconic and revered as the machine itself. Yet at the end of the day, there is no single sound that makes the 808 special so much as the expansive palette of different sounds it brings to the table - not to mention the musical heritage that they’ve come to represent. From Afrika Bambaataa’s ‘Planet Rock’ to Marvin Gaye’s ‘Sexual Healing’, the 808 came at a crucial time in the evolution of music where electronic sounds left the experimental workshop and hit the airwaves for the first time. Anyone who’s ventured into music production since its inception has undoubtedly been struck by its familiar sound. So, it should come as no surprise that artists such as Diplo, Kanye West, 2 Chainz, and Zed’s Dead (to name a few) bring it back time and time again to produce that hard-hitting, analog beat associated with that era. Love it or hate it, there’s no escaping it - the mighty 808 has stood the test of time and is here to stay.
By Oliver Herman
One of the early producers to really break out of his shell internationally from Canada at the turn of the century is Alan Lam, better known as Stranjah, and more recently Skeezer. With over 15 years of experience behind the boards, the savvy veteran is still currently churning out some of his finest material to date. His early production endeavours were clearly influenced by house, low-end hip hop production and various other forms of earlier bass music. Splashing onto the scene initially with then-partner-in-crime Gremlinz, his music found its way into the hands of legends like Goldie, L Double and Doc Scott, all of whom were keen on playing his music out in their sets and ultimately signed him to their respective imprints Metalheadz, Flex and 31 Records.
A favourite here at Off Centre Alan inspires students in Ableton Foundation and our Full Producer Program.
"Don't Cha" wanna give this remix contest a try? ;) Follow this LINK for a chance to win some fantastic prizes including a $250 OCDJ gift card. DEADLINE IS MAY 28th
Ableton’s Scale is a powerful MIDI effect that allows you to constrain every note on your keyboard to a specified scale. For example, if you wanted all of your keys to play only notes within an A minor scale, Ableton’s Scale can do this.
In this tutorial we’ll take a look at how Scale works and map out some of our own scales.
More info about Ableton and Electronic music production courses at Off Centre: http://www.offcentredj.com/certificate-programs.html
In recent years, there’s been a significant amount of controversy in the electronic music community about what qualifies as a live performance. These days there are several methods with which to perform that the preconceived notion of the ‘live’ performance is often left up in the air.
Traditionally speaking, the process of performing live music has been quite simple - bring your sheet music, tune your instrument, and play. Regardless of whether or not the artist is performing solo or in a group, there is always an element of spontaneity - no matter the artist’s skill level, live performances can be full of mistakes and will never sound like the original studio material and it shouldn't have to. In a 2013 article from FACT magazine, artist Xavier Thomas aka ‘debruit’ said, “You have to be able to make mistakes to have a feeling of live-ness. And it's also presenting some sort of difference between your music in a live format as opposed to a recorded performance to people that might already know your work” (Fintoni).
Before we continue, it's important to recognize the distinction between DJs and Producers. A DJ’s strength traditionally lies in engaging a live audience and witnessing their immediate reaction while working with their instruments, the turntable, mixer and crate of music. A producer also needs to work with their instruments in a studio environment with digital and or analog equipment to effectively convey an emotion or idea. Sometimes, Producers who are strong in the studio may lack the performance chops to rock a crowd. And on the flipside, seasoned DJs who can successfully mix for hours may lack the technical knowledge to produce. In these situations, those who are producers first may resort to pushing play on pre-recorded sets, and those who are DJs first may enlist the aid of a friendly neighbourhood ghost producer. Both are equally taboo topics which question the legitimacy of the artists skills.
It’s sort of like realizing your favourite singer is lip-synching and the microphone they are holding is merely a prop, some singers will always perform better in the studio than they do onstage. The same can be said for the producer playing a pre-recorded set at the mainstage and the revered DJ who releases a song made by someone else. Without a transparent connection between the two sides, confusion is bound to develop as the actual product and the expectations communicated on behalf of the artist, the promoter, and or the venue cease to match up with one another.
The essence of live music performance is that there should be a chance that things could go wrong, but it is the skill of the performer to bring it to new heights and keep it all from falling apart. Otherwise it's like just going to watch a movie. Sharing the experience in an environment with other people does have the potential to transform your relationship to the art, but that's just the equivalent of pressing play, and for many reasons we expect more from music.
There will always be audiences who will appreciate the performer who walks the line with artistic integrity and there will be audiences who simply seek the thrill of dancing live to music regardless of the performer’s technical prowess. Both are fine, but as electronic music grows and audiences mature they will also inevitably become more aware of what is actually going on in the booth and/or on the stage. The room for error and genuine talent should come together in a way that compliments the audience's tastes so as not to set up some sort of false expectation whereby the artist can get away with pretending to perform. For those looking solely for a visceral experience perhaps the play button with some banging tracks, flashing lights, and fireworks will do. The performance, however, often informs the experience and this speaks to the classic dance floor notion of energy transfer between performer and audience and the question remains can that truly happen when it's a one way conversation?
Fintoni, Laurent. "The Great Live Music Roundtable: Six Producers Debate the Future of Live Electronic Music." FACT Magazine. FACT Magazine, 31 Oct. 2013. Web. 19 Mar. 2016.
This video is a brief explanation and demonstration of exactly what Global Quantization is and what it can do to in Ableton.
More Ableton course info: http://www.offcentredj.com/ableton-li...
Global Quantization is a powerful Ableton feature that can be used in session view. It's one of the elements that really sets Ableton apart from other DAWs and can change your workflow and overall engagement in your music making experience. It can be used on stage for live shows and can also bring that performance feel in to your beat making process in the studio.