Premixing & Session View
Lesson time: (9min 59sec)
John Watson macht ein schnelles Premixing in Abletons Session View, stellt die Pegel ein, benennt Spuren um und strafft die Claps, bevor er arrangiert.
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This lesson is part of the course Kreatives Komponieren und Produzieren in Ableton Live
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Lesson transcript:
Music Track Structuring Lesson
I'm pretty happy now that we've got pretty much all the elements we need to start structuring the track.
Premix and Initial Adjustments
The first thing I'm going to do is a little sort of premix, just to get the levels right.
- Let's come up to the first track up here.
- Let's get rid of that click as well. We don't really need that now, as we're synchronized to Ableton's tempo, so we know all the parts are going to fit.
Adjusting Chords and Labels
- First, I'm going to come to my chords and turn them up a little bit, as they are a bit low in the recording itself.
- We'll also relabel some of this stuff:
- Kicks
- Percussion
- Clap
Tightening Up the Claps
It sounds like it's just a little bit lagging behind there, and I think it's the claps loop. I can see that the claps have lined up with the grid and are just a little bit out. You know things like that can happen, little discrepancies.
So, here's how I need to tidy that up:
- Click just before the first beat (bar).
- Click the one before it, the little marker, and delete it.
- Pull this marker in here for a much better loop.
This feels a lot tighter and should work better with everything else.
Levels and Scene Creation
- Now, I'm going to turn up the kicks a little bit too.
- I want to start thinking about laying down some scenes here for a better structure.
Creating Extra Scenes
- The next thing I like to do is create some extra scenes. This will help with the layout of the structure:
- Press Command + I and maybe do this five or six times.
- Move the two clips down like so.
I also want to think about the layout. I've got the MIDI tracks in here, and I don't really need these now, so I can get rid of them.
Saving a Version
Before that, I'm going to save a version called No MIDI. This simply means the previous version, saved at the start, will contain the MIDI clips.
Now, I can delete these MIDI tracks without worrying about pulling them back in later. If I needed them again, I can just open the other project.
Labeling and Playing with Elements
- Let's get rid of all the MIDI tracks.
- Making sure everything is labeled:
- Bass line
- Kicks
- Percussion
- Clap
- Chords
Experimenting with Sounds
Let's grab the first of the chords and have a play. There's no real right or wrong here, but I just want to think about what's going to come in first.
- Here are our chords, and this is working quite nicely.
- I'm feeling that, so I'll lay down some percussion underneath it for the first round of chords.
I'll put the click on to aid with the rhythm.
Duplicate and Change Scenes
- I'm going to duplicate that scene again.
- Now, I want to think about what else would work in here.
I'll get rid of this scene and put in my other chords and kick. Let's turn this up as well.
Structuring the Backbone
- I think that's going to work, so I'm going to duplicate this as part of the backbone structure.
While I still feel there are areas that might need a little something else, we have still got some effects to put in to help the transitions between the different scenes.
Final Adjustments
I think I'll copy this down and maybe add a little bass line as well, probably run this scene a couple of times.
Next, I'll go back to this scene, and I'll put in the percussion again and the kick this time. Then we'll move in with our bass line.
Color Coding
One important thing here is that if stuff isn't labeled the way you would like, at least color it to avoid confusion.
We've actually got two different bass lines here, so let me just copy this one over.
This bass line goes down here, and we're back to this with the kicks.
Concluding the Pre-Structure
So, we now have the claps. I'm going to duplicate this scene down and put the claps in here. Finally, I want to build up this layer too, getting everything playing in this section here, including our claps.
This little pre-structure is looking like it's going to work fairly well!
About the instructor

Nach einem Praktikum bei Dave Allen, dem Produzenten von Depeche Mode und The Cure, ließ sich John dazu inspirieren, in London Music Technology zu studieren. Seine Musikkarriere nahm nach einem erfolgreichen Vertrag bei CookShop Records Fahrt auf, wo er 9 Singles und 2007 ein Album veröffentlichte, das begeisterte Kritiken von Q, Uncut und Lowdown Magazine sowie Airplay bei XFM und Radio One erhielt. John begann seine Ausbildung zum Tontechniker 2005 im Bonafide-Studio, wo er sein Können verfeinerte, und gründete noch im selben Jahr Jackdaw Recordings. Er hat mit vielen erfolgreichen Künstlern zusammengearbeitet und begann 2007, für den Pop-Musiker Patrick Wolf zu spielen, mit Auftritten in führenden Häusern in Großbritannien und international – darunter The Astoria und das Shepherds Bush Empire. Von seinem Londoner Studio aus schreibt John heute Musik, mit zwei weiteren Veröffentlichungen bei CookShop, macht Tontechnik für namhafte Künstler und gestaltet Sounddesign für TV-Spots, Film, Theater und Unternehmensvideos. Genau diese seltene Mischung aus Songwriter, Produzent und aktivem Studiotechniker bringt John in seinen Unterricht ein. In Creative Composition & Production in Ableton Live und Creative Sampling & Production in Ableton Live zeigt er dir, wie er aus rohen Ideen fertige, veröffentlichungsreife Tracks macht – das Schreiben, das Sampling, das Sounddesign und das praktische technische Know-how hinter einer professionellen Platte. read more




