Leçon 6 sur 14Production musicaleIntermediate

Ajouter des cordes et des flûtes samplées

7:28

John Watson superpose des cordes et une flûte samplées sur sa piste percussive dans Ableton, en chargeant des sons dans Simpler sur une nouvelle piste MIDI pour trouver ce qui complète le groove.

Extrait du coursSampling et production créative dans Ableton Live14 leçons (2h 26min)

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14 leçons (2h 26min) · 2 gratuites
    • 01. Premiers pas & installation

      3:21

    • 02. Gérer une bibliothèque de samples

      Leçon gratuite

      4:34

    • 03. Préférences d'Ableton

      1:14

    • 04. Utiliser des samples : les périphériques Simpler et Sampler

      7:04

    • 05. Utiliser des samples dans ton morceau (rogner, étirer, accorder, égaliser)

      12:56

    • 06. Ajouter des cordes et des flûtes samplées

      Tu es ici

      7:28

    • 07. Ajouter un rythme samplé : kicks et snares

      25:07

    • 08. Échantillonner des instruments externes - boîte à rythmes et synthé

      12:28

    • 09. Construire les parties dans la vue Session

      13:55

    • 10. Enregistrer le morceau dans la vue Arrange

      4:34

    • 11. Peaufiner la structure du morceau

      5:35

    • 12. Mixer le morceau : les effets

      21:24

    • 13. Ajustements finaux

      13:14

    • 14. BONUS : Masteriser ton morceau et le mettre en ligne sur Soundcloud

      Leçon gratuite

      13:31

Transcription de la leçon

Music Lesson

So next up, then, I'm thinking about another instrument that would work with this. When I collect samples, as I've shown before in an early video, you can see that everything is categorized into the type of instrument.

Choosing an Instrument

What I think might work quite well now are some strings to complement the mostly percussive thing that I've got going on.

  1. Creating a New MIDI Track
    I'm going to create a new MIDI track here and we're going to go into instruments again, double-click for simpler.

  2. Arming the Track
    So it's automatically mapped to my keyboard. I just have to arm the track here like so.

  3. Listening to Samples
    Then, I'm going to scroll down into my strings folder, have a little listen, see what's available. That's really nice there, that sustained string sound.

Key Considerations

But it might not work. I might find that it's actually in A major or minor chord. I'm not sure what my hang drum is in yet, which key it's in. So it may or may not work.

  • Quick Assessment
    Again, it's very quick to work out whether this is going to fit.
  1. Playing the Sample
    So when I play the keyboard now, a whole sample comes in. What I'm really after is this little section here: a kind of gentle sustained string.

  2. Adjusting the Sample
    Now, the front of the sample here, as you can hear, just sounds a little bit odd the way it comes in. If it had a bit more of a fade at the start, then that might help.

    • I'm going to take my attack position forwards, do a little bit more than that, and you can hear it kind of gently comes in, really just following the natural shape of the sound, really there. You see it fades in and it's held.

Testing Compatibility

So, what I also want to work out is whether it's going to work with the track.

  • Playing the Track Together
    Let's play the track. I'm feeling that the C is working nicely there, maybe the F.

Recording Ideas

So, what I'm going to do is jam something in and give myself sort of free reign of record time.

  • Click to Record
    • Okay, so I've got a little something in there, a bit of variation as well.
    • And, yeah, I'd like maybe to interject something in between each of those string elements that I've just added.
  1. Duplicating the Track
    To make my life a little bit easier, I'm just going to duplicate this track, like so, delete what I've recorded there, and I'm just going to replace the string sound.

  2. Jamming Again
    I quite like this one here and let's just have a little jam again. At this stage, it's really generating ideas. I don't really necessarily know what's going to work, so it's just trial and error.

Filtering Sound

Now, listening to this sample, there's a little bit more low end in that, which is kind of confusing things. It's kind of getting in the way of the other sounds.

  • Using a Bandpass Filter
    I'm going to filter it, and what I'm going to do is switch over to a bandpass filter here. This is really going to filter out the low and high frequencies so that we have a slightly thinner, more resonant version of the sound. Let's just turn it down a little bit and have a little listen to that.
  1. Evaluating the Sample
    I quite like the way it ends here. It's quite rhythmical at the start; however, this little section here just sounds a little bit more fluid.

    • Because there's not really a defining rhythm there, it will actually fit better with the track.
    • But you can hear that it ends quite abruptly.

Adjusting Fade Out

So what I'm doing here is adjusting the attack, decay, sustain, and release so that the sample will have a bit of a fade out.

  • I'm taking the sustain down, decay up full. A little bit too long there, so let's take that back down, add some release.

    • So that sounds kind of cool. It has a bit more of a fade out at the end.

Final Thoughts

So let's play the track. Instantly, I'm feeling that I've got something interesting there.

  • Recording the Final Section
    Let's just turn it up a little bit as well.

    • Yeah, I'm just gonna keep things fairly simple. I'm going to record this in now.
    • So I'm going to come in between the last two string sections. That might do it there, just one simple little section.

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John Watson

John Watson

Après un stage auprès de Dave Allen, producteur de Depeche Mode et The Cure, John a eu envie d'étudier la Music Technology à Londres. Sa carrière musicale a décollé après une signature réussie chez CookShop Records, où il a sorti 9 singles et un album en 2007 salué par Q, Uncut et Lowdown Magazine, en plus d'être diffusé sur XFM et Radio One.

John a commencé à se former comme ingénieur du son au studio Bonafide en 2005, où il a affiné son talent, avant de fonder Jackdaw Recordings plus tard la même année. Il a collaboré avec de nombreux artistes à succès et, en 2007, a commencé à jouer pour le musicien pop Patrick Wolf, se produisant dans des salles de premier plan au Royaume-Uni et à l'international — dont The Astoria et le Shepherds Bush Empire.

Depuis son studio londonien, John compose désormais de la musique, avec deux autres sorties chez CookShop, assure l'ingénierie du son pour des artistes en vue et conçoit le design sonore de publicités télévisées, de films, de pièces de théâtre et de vidéos d'entreprise.

Ce mélange rare d'auteur-compositeur, de producteur et d'ingénieur de studio en activité est précisément ce que John apporte à son enseignement. Dans Creative Composition & Production in Ableton Live et Creative Sampling & Production in Ableton Live, il te montre comment il transforme des idées brutes en morceaux finis, prêts à sortir — l'écriture, le sampling, le design sonore et le savoir-faire concret de l'ingénierie derrière un disque professionnel.

John Watson
Pat Levett
Joe Glossop
Frank Doll
Katie Melua
Ed O'Brien
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Adam Mishan
Chet Atkins

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