Bulletin Board Archive

Topic: Del, El-P , and Kid Beyond....Artist that use Ableton

1. Jan 21, 2009 03:22am by AceFadal - [b:353f9d151d]k[/b:353f9d151d]inestheti[b:353f9d151d]C[/b:353f9d151d]~means To learn by doing www.dipity.com/acefadal WE ARE, Kansas City is [b:353f9d151d]k[/b:353f9d151d]inestheti[b:353f9d151d]C[/b:353f9d151d]! http://crushproofstudio.bandcamp.com/ Location: Downtown, Kansas City, Mo.
   http://www.ableton.com/del [b:373f4f4cf7]Del the Funky[/b:373f4f4cf7] Hip-Hop's Funkitect from the Future Even back in 1991, when Oakland-born Teren Delvon Jones a/k/a Del tha Funkee Homosapien dropped his solo debut I Wish My Brother George Was Here, he was way ahead of his time. Inspired by the acid funk of George Clinton and Parliament-Funkadelic, Del perfected a slightly unhinged rhyme fluidity that set him apart from the gangsta clique (spearheaded at the time by his cousin Ice Cube) while serving notice that he could still be just as raw as his Compton-based brethren. content At the same time, the now-legendary Hieroglyphics crew also provided an outlet for Del's expression both as a lyricist and as a budding producer. He learned beats by watching the Lench Mob's Sir Jinx (an integral production force on Ice Cube's solo debut AmeriKKKa's Most Wanted) and immediately applied the knowledge to his next album, 1993's No Need for Alarm. Since then, with Hieroglyphics and on his own, Del has gradually proven himself on the mic and at the mixing desk — particularly on the genre-busting sci-fi opus Deltron 3030 (with Dan the Automator, Kid Koala and a slew of guests) and on two singles from the platinum-selling Gorillaz album, as well as Hieroglyphics' Full Circle (released in 2004). Del is a recent convert to Live, which figures prominently in the tripped-out beatscapes that propel his long-awaited solo project The 11th Hour. Meanwhile, he has recently put the finishing touches on the second Deltron album — described by Dan the Automator as "a little more uptempo, even though the record's actually darker than the last one" — and has been producing tracks with Atlanta soulstress Joi Gilliam and ex-Digable Planets Ladybug Mecca. With all this and more from the Hieroglyphics Imperium label in the pipeline, 2008 promises to be a truly breakout year for Deltron Zero. When did you first get into Live? It was a Lite version in another piece of software I had purchased. The graphic design is what caught me. How are you using Live on the new album? For everything, man — from laying vocals and arranging to production. I often use Session View to record different sessions live and then chain song parts together — it's easier than duplicating a part over and over, and it allows me to feel out a piece. I've got a few tracks I use, and I drag the different parts of those particular tracks into Session View. I use Session View for mixing, too. I might loop a section before I start arranging for real in Arrangement View, but more or less I try to come up with different instrumentation because I play a lot of my own arrangements. I don't use Live on stage yet, although it's stable enough to where I could and feel safe, no doubt. Are you playing VSTs or live instruments? I use VST stuff. Sometimes I use Simpler since it allows for MP3 files. But I'm so stylized in my production, I go for VSTs that really bring a certain feel, as opposed to designing my own sounds. "Sounds of the '70s" from Zero-G in the UK is the main tool I use dead up. It's killer because it covers the whole spectrum as far as the '70s go. I love the [Applied Acoustics] Lounge Lizard, too. I'm a keyboardist, so that's my thang. [Editor's Note: Lounge Lizard has now been licensed as Ableton's Electric instrument]. content2 Is there anything else you'd like to see in Live? [i:373f4f4cf7]Naw, man, actually it's perfect. Every release is tweaked just the right amount so it's square — otherwise you in the stone age as far as production and meeting demands. I could never get an album done in any reasonable time frame without Live. I'm gone too much and I got too many responsibilities.[/i:373f4f4cf7] How much time do you spend working in the program when you're home? All the time, whenever I got a chance to do music, it's on. I use it in the van when I'm out on the road. I've got it on right now! How does Live help you creatively? You know, you got to constantly listen actively to music, and practice to keep hip, and sometimes I just don't have the time to even focus on just music, which is where programs like Live come into play. I have yet to scour the instruction manual and I can use it pretty good, but graphically it's no punk either. That definitely helps when you're staring at the screen for long periods of time because the graphical environment keeps you in there. That's a big draw for me. With hardware, you can't see what you're doing — but just throw Live in it and I'm satisfied. http://www.hieroglyphics.com http://www.myspace.com/delthefunkyhomosapien http://www.definitivejux.net [img:373f4f4cf7]http://www.avclub.com/assets/images/articles/article/14048/El-P_jpg_595x325_crop_upscale_q85.jpg[/img:373f4f4cf7] I swear this is B.Broker [b:373f4f4cf7]El-P[/b:373f4f4cf7] Def by Manipulation Although he's an acknowledged fixture on New York's hip-hop scene, El-P has always appeared content to fly under the radar — shadowy presence whose unusual production style continues to evolve along a dark, feverish and slightly maladjusted creative seam. Even back in 1996, when he first brought his filth-encased beats, way-out lyrics and old-school sonic aesthetic to the fore with his group Company Flow, it was clear that El (a/k/a El Producto) was much more interested in musical innovation than he was in the over-hyped mainstream game of bling and braggadocio. content Co-founding the Definitive Jux label in 1999 — after a semi-disheartening breakup with Rawkus that same year — El-P quickly got out in front with a new approach in the studio that had eluded most indie producers. Sampling from obvious sources had become too expensive an undertaking, so moving forward called for musicianship as well as expertise in chopping, programming and signal processing. El-P already had the advantage of having grown up under the tutelage of his piano-playing father; with the release of his Def Jux solo debut Fantastic Damage in 2002, he was well on his way to establishing himself as a fully performance-based producer. Five years later, the near-apocalyptic I'll Sleep When You're Dead found El-P forging into new and more twisted sonic dimensions, with Live playing a key role in his transformation. "I think Live is pushing a lot of us into territory that's more expansive," he observes. "It really allows you to open up and get more serious about your creativity, which from a hip-hop perspective is incredibly important." And as El-P's own vision — and the Definitive Jux mission — grows in scope, no doubt we can expect even more of the unexpected. Which of Live's functions do you rely on most? The thing that I love about it and the thing that I essentially use it for is the filtered effects. For me, it's all about taking noises, sounds, bass lines and samples and really transforming them by experimenting with the different combinations of effects. It's amazing to be able to take an existing guitar line and then layer it with a completely effected version. You can cross-fade the two or bring them in at different times — the effects in Live just seem endless in combination. If you really go there and spend some time on it, you can come up with some great sounds. How did you discover Live? Years ago when it first came out, DJ Krush was in my basement in Brooklyn, and I guess he had it before anyone else did here. He brought it to my place and we were recording something, and he showed me the program and I was actually pretty amazed by it. I loved being able to manipulate the tempo without changing the pitch. I mean, other programs had that function, but it wasn't very natural. At the time, Live was really the first program that did that smoothly. Being the tech fiend that I am, I just went out and bought it. content_2 How has the program changed your approach to sampling? You really have to be a different type of producer now, so that you can create without having to worry about being sued. Live gives me a great way to take the mood of a sample and completely manipulate and change it to the point where it's totally unrecognizable, but it still retains some spirit of the original. Then I can fuck it up further — chop it up, take sections and move them around. Do you recall one song in particular where you did that? In the middle of "Tasmanian Pain Coaster," the first song on I'll Sleep When You're Dead, there's a tremolo solo that I created in Live. I brought in a chopped-up sample of a sitar, and then I changed the order of the notes and ran it all through a tremolo effect — combined with a couple of other effects — to get the final sound. Are there any other effects you like to use? I like the Vinyl Distortion effect. Essentially it feels like a distortion that you can use very subtly to give a bit of graininess to a sound that wasn't there before. Does the program figure into your live show? I haven't actually incorporated it into my live set, but I don't use computers when I perform with the band. Even though I know a lot of people use Ableton in a live setting — and it's clearly the best program you can use for that — I've never incorporated it. For the most part I really just use it to accentuate my production. Flip to El-P's MySpace page at http://myspace.com/elproducto [b:373f4f4cf7]Kid Beyond[/b:373f4f4cf7] He's lent his lips to the "Godfather of Soul" and spit in the general direction of LL Cool J, Run DMC, and even the great Ray Charles. Of course it's musical spit we're talking about here — the kind of juice used to fuel the lips, breath and vocal stylings of San Francisco's own Kid Beyond (aka Andrew Chaikin). Armed with only a microphone, a laptop and one versatile delivery system — his mouth — Kid Beyond has been beatboxing for over twenty years and dishing out smoldering performances on tour and at his regular gig as host of the monthly San Francisco beatboxing event the "Vowel Movement." While beats are Kid Beyond's trade, don't be surprised to hear guitar, bass, keys, turntable scratches, horns, movie samples and soulful singing flow from his mouth. Using Ableton Live, Kid Beyond combines these elements, creating full-fledged compositions in real time. We sat down to discuss how KB uses Live to flesh out his songs onstage and in the studio. "For years, I had this idea in the back of my head — I'd love to be able to be a one-man vocal band. I could lay down a beatbox loop, then more beatboxing or vocal turntablism, then a vocal bassline, then the synth parts, then sing or rap over all that. There were hardware looping devices available, but none of them gave me the kind of power and flexibility that I wanted. Once I found Live, it was all possible." kid_beyond While many people open their Live sets with a full set of session clips or a set arrangement, Kid Beyond prefers the empty slate approach: "Onstage, I start each song with an empty Live set — empty of clips, that is, but full of predefined tracks and effects. Then, one by one, I record live audio clips into each track." KB takes a less-is-more approach with his gear as well: it has to fit in the overhead compartment on an airplane. A mic, a PC laptop, an uninterruptible power supply, M-Audio FireWire 410 audio interface, a rugged Ground Control Pro footboard, Roland expression pedal, his tonsils and a mess of cables are all he needs to perform a show. Not that you'd notice the gear once the lights go down. "I never touch the laptop during the show; I don't want it coming between me and the audience. I like it to be just me and my mic and the footwork. I use a good ol' Shure SM58 microphone — when you sling as much saliva as I do, you need a mic that can take punishment." Live is KB's software hub, with Bome MIDI Translator helping to translate MIDI events into keystrokes. "I can press one button on my footpedal and have a dozen things happen in Live at once — turn a bunch of tracks on or off, record on multiple tracks, activate a bunch of effects, etc." The ease and stability of plug-in effects in Live is another draw for Kid Beyond: "The ability to chain so many effects together and drag them around in real time, to beat-warp and time-stretch on the fly — it all happens so seamlessly, which is wonderful when you're dealing with multiple tracks of live audio." On top of all this, KB has other tricks up his sleeve. "Lately I've been playing around with recording live audio to multiple tracks, and/or muted tracks. For example, maybe I'll have a bassline that's 16 beats long, so I'll sing it and record a 16-beat loop, but at the same time I can be recording little 2-beat chunks of it to tracks that are muted, and then play those chunks back later, unmuted, in a different order." An inventive take on how to use Live, matched with exceptional vocal skills. Don't take our word for it. Watch the video (.wmv or .mov). http://downloads.ableton.com/artists/kid_beyond/kid_beyond.wmv http://kidbeyond.com [b:373f4f4cf7]Nine Inch Nails[/b:373f4f4cf7] Did this 2 years ago Nine Inch Nails Wants Your Remix! After five long years of silence, Nine Inch Nails has released another critically acclaimed and hook-laden new album, "With Teeth." Note: This remix contest has ended. Even more exciting is the release of the Ableton Live version of the album's second single, "Only" with individual tracks and an Impulse drum kit of sounds which can be downloaded here. nine_inch_nails In a bold move, Reznor is making his music available to remixers all over to world. He asks you to create as you like and submit your creations to the "unofficial" NIN forum. If you'd like to check out the variety, there are already hundreds of remix submissions posted here. For years, Trent Reznor and his crew have been using Ableton Live as a production and sound design tool as well as a partner in sonic experimentation. Reznor says, "Live is a powerful and fun program to use. We use this extensively in the studio for a variety of purposes." Now its time for you to experiment if you've got the teeth for it. loooooooooong post Kid Beyond http://downloads.ableton.com/artists/kid_beyond/kid_beyond.wmv Whos ready for a lesson session?
2. Jan 21, 2009 02:10pm by beatbroker - -beatbroker HHA/Symbol Heavy/IN crew Location: KCMO
   stop trying to defend it... fuck Del, fuck El-P and especially FUCK Kid Beyond. basically, fuck ableton. ...WHAT! 😮
3. Jan 21, 2009 04:30pm by AceFadal - [b:353f9d151d]k[/b:353f9d151d]inestheti[b:353f9d151d]C[/b:353f9d151d]~means To learn by doing www.dipity.com/acefadal WE ARE, Kansas City is [b:353f9d151d]k[/b:353f9d151d]inestheti[b:353f9d151d]C[/b:353f9d151d]! http://crushproofstudio.bandcamp.com/ Location: Downtown, Kansas City, Mo.
   [quote:e43d77cb7d="beatbroker"]stop trying to defend it... fuck Del, fuck El-P and especially FUCK Kid Beyond. basically, fuck ableton. ...WHAT! :o[/quote:e43d77cb7d] he said especially Kid Beyond.... heres a preview of what friday might be like, how you will get served. Praying Mantis/Snail Style http://www.youtube.com/watch?v=ZDRAVxKMMcM http://www.youtube.com/watch?v=9g8iGbKncqY [b:e43d77cb7d][size=24:e43d77cb7d]FIRE!!!![/size:e43d77cb7d][/b:e43d77cb7d]
4. Jan 21, 2009 04:58pm by beatbroker - -beatbroker HHA/Symbol Heavy/IN crew Location: KCMO
   hmm. ablleton, fast? funny how shit didn't even start moving until the latter half of the vid. shit would have been on and poppin' within the first 30 seconds had it been a 60 or a 3000. No. Software doesn't make the process more expedient. I hit an on switch and I'm in "go mode." No boot up, no software load time, no time consuming graphical editing. just ears, records, sounds, pads and fingers. I'll say it again. FUCK ABLETON! and while we're at it... F.U. to Reason, Fruity Loops, Acid Pro, Logic, Digital Performer, Sonar or ANY software programs that allegedly simplify and speed up the beat making process. ALL LIES! DON'T BELIEVE THE HYPE! most importantly, FUCK LATENCY! no matter how slight, it ruins unquantized swing. i assume you already know that ableton is produced in Malaysian sweat shops by starving 8 year old children who are deprived of lunch and bathroom breaks and beaten senseless if they don't crank out enough units per hour right Ace? Put that in your pipe.
5. Jan 21, 2009 05:14pm by AceFadal - [b:353f9d151d]k[/b:353f9d151d]inestheti[b:353f9d151d]C[/b:353f9d151d]~means To learn by doing www.dipity.com/acefadal WE ARE, Kansas City is [b:353f9d151d]k[/b:353f9d151d]inestheti[b:353f9d151d]C[/b:353f9d151d]! http://crushproofstudio.bandcamp.com/ Location: Downtown, Kansas City, Mo.
   [quote:54b954bc25="beatbroker"]hmm. ablleton, fast? funny how shit didn't even start moving until the latter half of the vid. shit would have been on and poppin' within the first 30 seconds had it been a 60 or a 3000. No. Software doesn't make the process more expedient. I hit an on switch and I'm in "go mode." No boot up, no software load time, no time consuming graphical editing. just ears, records, sounds, pads and fingers. I'll say it again. FUCK ABLETON! and while we're at it... F.U. to Reason, Fruity Loops, Acid Pro, Logic, Digital Performer, Sonar or ANY software programs that allegedly simplify and speed up the beat making process. ALL LIES! DON'T BELIEVE THE HYPE! most importantly, FUCK LATENCY! no matter how slight, it ruins unquantized swing.[/quote:54b954bc25] You forgot Pro Tools Because yeah when a group goes on the road, they like the consraints of sitting in the van, thinking of their next creation, with their crates in the back seat, and the tables in the cases, at least you can surf the net, Not! Aww too bad you hate Sprint Global wireless too. [quote:54b954bc25="beatbroker"] i assume you already know that ableton is produced in Malaysian sweat shops by starving 8 year old children who are deprived of lunch and bathroom breaks and beaten senseless if they don't crank out enough units per hour right Ace? Put that in your pipe.[/quote:54b954bc25] Its actually made in Berlin,Germany, and the little fkers there, need to pay for what their great-grandfathers did anyway. It was an attrocity. I decided to stop caring about the children of the world. stupid little kids, run away if you hate being a slave. Obama! I've conformed and become part of the sheeple http://www.zeitgeistmovie.com/ I gotta have my Air Force 1s and I only smoke Optimos or White Owls
6. Jan 21, 2009 05:29pm by beatbroker - -beatbroker HHA/Symbol Heavy/IN crew Location: KCMO
   The day I see Ace in a pair of Forces is the day I slip on my hemp moccasins.
7. Jan 21, 2009 06:43pm by AceFadal - [b:353f9d151d]k[/b:353f9d151d]inestheti[b:353f9d151d]C[/b:353f9d151d]~means To learn by doing www.dipity.com/acefadal WE ARE, Kansas City is [b:353f9d151d]k[/b:353f9d151d]inestheti[b:353f9d151d]C[/b:353f9d151d]! http://crushproofstudio.bandcamp.com/ Location: Downtown, Kansas City, Mo.
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8. Jan 21, 2009 11:59pm by Les...Izmore - "Knowledge Speaks, Wisdom Listens" www.Izmore.com twitter.com/LesIzmoreHOD www.youtube.com/izmoremusic IZMORE/Soul Providers/RRC Location: MIDDLE OF THE MAP
   OH SHIIIIITTTT!! LMAO!!!! YA'LL ARE EFFING CRAZY!!!!