Ableton Live Ultimate Course 16 - Coloration Video Lecture | Become the Master of Music Production: Ableton (English)

it was a bass in this video we're going
to be going over coloration and this is
saturation overdrive amplifiers and all
that fun stuff so we're going to do
something first we're going to add an
oscilloscope or a signal analyzer so
this is a signal analyzer and what this
does is analyzes your signal we're going
to use two so this is a sine wave I'm
going to use a sine wave to show I'm
actually going to duplicate this I
encourage you to give this a try you can
get it for free @ RS matcom and I'll
have one for signal and then one for
spectrum are right so the top one is
your signal the dawn one is your
spectrum right so this is a sine wave so
it this kind of dives in from eke use
the EQ section and as we go up in pitch
the fundamental which is you know with a
sine way there's only one fundamental it
goes up our our spectrum here and that
is our note pitch pitch whatever right
so we have this so I'm going to get rid
of these alright so we have a sine this
is a the purist tone you can get I'm
going to show you one of our first
what's a combination alright so we have
our amplifier and what the amplifier
does is it's just like a guitar
amplifier so if you have a guitar and it
goes through an amp you have these rich
harmonics that kind of come through and
it adds to the sound to storage sound of
your electric guitar that's made by soft
tube and these guys don't mess around
so we have our sine wave I'm going to
increase the wet/dry
see harmonics starting to poke through
alright this is something that has no
arm it only has one harmonic and all
these harmonics being added
this is coloration of the sound this
will this is electric guitars from the
50s all the way to electric bass lines
today talking bass everything uses
coloration effects and they're very
useful and there's different kinds and
you know some are modeled some are
futuristic some are multi band some are
single band some are crazy so yeah let's
get going and you'll notice that the
sine wave is changing shape that's
actually getting bigger
right we'll see that there's different
types of amps give a clean one
quote-unquote clean all those harmonics
there boost
right so we we effectively turned a sine
wave into it you know jiggedy-jaggedy
something rather with lots of harmonics
those are partials they're really fun
and yeah that is just this is just an
intro to your saturation and your
coloration
whose gang we got Rakas into more hard
square-wave now and lots of harmonics
holy crap we got lots of our walks lead
aggressive harmonics heavy and I love
that look at that that's just a sine
wave so if this does this to a sine wave
what do you think it does with C square
we have a saw wave something else you've
cooked up adds a lot of fun stuff and
this is how you get those really big
bases and more space it's a more
attenuate of bass sounds all right I'm
gonna get rid of that we're going to go
over a lot of these this might be a
little bit too much to start off Oh
actually to put that back down there
alright so we have our amplifier usually
the amplifier head will sit on top of a
cabinet and there's cabinets modelled so
this is the speaker cabinet and this
will give you an authentic kind of
guitar tone so if you ran a guitar
output which I have over there you can
get you know convincing electric guitar
sound all right so we're going that we
have a different speaker types so to 12
inches for 12 inches for 10 inch and
then we have one for bass
we can select if the microphone is
directly in front of the speaker far
away from it or directly in front and
off to the side these are traditional
mic placement kind of techniques we have
condenser and dynamic mics so a
condenser has power to it it's kind of
what I'm talking into right now and a
dynamic is more of like a look at my
microphone you see bands singing into
there two different kinds of microphones
and they have a different kind of Tambor
this is a sine wave I was actually
playing you know and another guitar but
sound a lot better I'll write that is
these these two should be used in series
so I'll just show you what it sounds
like without it right should be used in
series and that is your amplifier and
your cabinet plug in all right so we
have dynamic tube so tube is where is it
there goes this is a kind of a tube
distortion emulation we have drive and a
tube is a lot less reactive and it acts
on transients and we're not into
transients yet but you know we can it's
kind of like nonlinear
so we have our two weird it's shaping
and adding some nice upper harmonics
and we have a different tube modes yeah
a B and C different two modes
some are cleaner than others this is
just another way of a saturation tubes
are those things that glow and you know
they don't make them anymore really but
they're quite sought-after but they are
in here and they're useful for transient
material which we're going to get into a
little bit later
erosion now this is this kind of I know
he roads the signal but I've had a
certain band does that so this is more
of a Redux so this is it basically adds
a noise floor
I can't necessarily explain it right now
so to emulates you know faulty gear
that's why it's called erosion different
coloration effects use them in series
and you get a really nice sound okay
overdrive we all know this one this is
how you what you would run like a guitar
pedal through so this is a a band
selectable so if we have you know we
have our low end our low end bass here
but if you only want to overdrive the
upper harmonic speeds set our filter
this is just like a filter to the top so
you only get the top harmonics but if
you wanted to like overdrive just the
bottom
for you know richer material we can
select you know a particular man we want
to overdrive and overdriving this gives
it a lot of harmonics which is really
nice and tone is colored Katona's it's
it how it's yeah post distortion you
control there you go
because you are doing just to a simple
sine wave that wet-dry you can mix it
harmonics are nice richer sound a fatter
sound they say the next one is Redux so
this doesn't necessarily distort
anything so what you have is you have
time this way every second there's four
hundred forty four thousand forty four
point one thousand slices oops yeah
slices in here so that's the resolution
of your audio right that is a sample
rate so forty four thousand time will
say forty four thousand forty four
thousand times per second
it'll when you're recording something it
takes a picture and that is your sample
rate CDs at forty four thousand alright
so your bit your bit depth is it
controls amplitude so sample rate is
time bit bit reduction or bit you know
bit depth is there the dynamics so
there's we did it hold on we did the
math like Mariah Carey leading so let's
see yeah there's four values for
AmpliTube there's six 65535 potential
values when using 64-bit right so if you
reduce that you get you know
lower lower dynamics of like what your
sine wave is so you'll see so we'll turn
bit reduction on and the trick is to
look at the sine wave right now it's
smooth and as we bring it down we'll see
stepping
right five bit
so there's not a whole lot of possible
like on off a bit is one bit would be
light on light off this beat yes this
would invariable be a square wave right
square wave it can either be on or off
and when you have a sine wave into a
square wave you can't have in between on
and off so one bit would be a square
wave and it sounds rather intense right
so this is you know used in a lot of
music and it's the bit reduction and
what this does this emulates old gear
that didn't have the super high
resolutions we have now we have now all
right so we have our sample rate this is
a bit different this is the shrinks the
second image you shrink the resolution
of your monitor and you get like jaggies
and stuff you know so this is it just
samples everything down there's two
modes soft or hard you see the step
so the resolution is reduced to steps
the resolution you can't you know
distinguish this was a perfect sine wave
before but you can't like distinguish
in-between of these steps so it just
create steps because it's stupid
basically right it's often hard and this
is just another way to colorize things I
will not say software hard ever again
you know see it creates interesting
upper harmonics are a certain samplers
were like 22 K or 16 K and you know
that's how you get that sound from those
classic npcs and that's that a saturator
i like oops saturator this is kind of
like how they would they would boost
like a kick drum through the old Mackie
console to get gabber this is a little
bit different than overdrive this is
kind of like pushing a channel and it
like kind of reacting and not it's not
able to output what it's taking in so it
freaks out and it starts to clip but
it's not you know digital clipping so
digital clipping is just hard digital
clipping little clipping you can't go it
can't go above this point the sine wave
you can't go by that point so it just
cuts it off and there's different
clipping modes so analog clip it's a lot
more forgiving
and the others different kind of wave
shapes see that it creates harmonics you
want harmonics there's you know hard
curve different things you really hear
it with different different Tambor's and
since sounds and stuff like that alright
that's that traitor one more about vinyl
Distortion so this emulates to say if
you you know back in the day you sampled
something off vinyl and you had like
crackles in it you know then in the
needle it was dirty or the record was
scratchy this is it this emulates that
we even have crackle very loud crackle
for all the burial fans but still it
adds harmonics subtly so tracing out
figure this as like your your your
digital analog conversion or your needle
is blue and pinches Morpho gnarly sure
just tons of research anyway yeah that
is coloration and I hope and I hope
that's good and I hope I explained it
well and I hope you get your signal
analyzer drop in a sine wave drop down
here and you figure out what's going on
yeah we will be back with some more fun
stuff so long your hats