Ableton Live: Program Realistic Drums | Tips & Tricks | Berklee Online | Music Production

  • Video Views: 27875
  • Published On: 2016-09-02 02:45:46
  • Video Published/Author: Berklee Online
  • Video Duration: 00:05:28
  • Source: Watch on YouTube

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In this free tutorial, Berklee Online instructor and Ableton Certified Trainer Brian Funk, aka AfroDJMac, demonstrates how to make an electronic beat that feels more human. He achieves this by tinkering with the velocity of upbeats and downbeats, nudging notes, filtering cymbal sounds, and changing up the beats.

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About Brian Funk:
Brian Funk, aka AfroDJMac, is a multi-instrumentalist, singer/songwriter from New York. He began his musical career with the guitar, playing in numerous rock bands, recording albums and embarking on East Coast tours in the United States. In an effort to expand his studio’s capabilities and songwriting arsenal, Brian turned toward computer-based music in 2006. As a guitarist and songwriter, he found Ableton Live to be the ultimate tool to unlock his creativity and bring his studio creations to the stage.

A curious sound designer, AfroDJMac regularly releases free Ableton Live devices that challenge conventional sound-design-thinking, via his Web site and YouTube channel His series of Two Minute Ableton Live Tips earned him the title of “a legend in the Ableton Community” (Ableton Blog 6/26/12).

As a writer and high school English educator, teaching Live and music production is the perfect marriage of two life passions. Brian specializes in teaching Live for songwriters and rock musicians, home and professional studio application, and live performances. His experience as a rock musician offers students a unique insight into bridging music of the past with the music of the future.

Ableton Live | Ableton Push | Brian Funk | AfroDJMac | Berklee | Berklee College of Music | Berklee Online | Music Production | Electronic Music

  1. Want the secret to making organic drum programs? Step 1: load up your favorite synthetic drum samples. Obviously the principles still apply, but it's just kind of funny lol. But on a serious note, there's still another side of the story that deals with the timbre of real acoustic drums, how different timbres come out at different velocities, and how you can emulate that by layering different samples that have different harmonic content, attack, etc. There's also the recording context, and using things like reverb to emulate the sound of the room, and layering in multiple tracks processed to emulate direct, room, and overhead mics (using different EQ, compression, overdrive, amd reverb for each track).

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