SAE Magazine

94 the values. If you build en can appear to have many acter. Also to keep each subtle but noticeable cha the effect. In Fig. 2 you Send 2 Delay, this is wha sharing. This is the same strument that needs to h changes that I want to co our original concept of stu things up even before re identify what sounds mus (and what doesn’t). Now find this setup too simple with many parameters to would either relegate thos controller like maybe the have a section on my con formance. Keeping mixing controls helps prevent co mom care and Lim mak tive side limi ber sho out? shif tion live extr PRODUCTION & KNOW HOW // ABLETON I make it easy to trigger on time, so ¼ notes. Some more skilled of you will set to 8th or even 16ths; I just prefer to protect myself from false triggering. If I make the setup as easy to play live as just play back, I won’t be afraid to change the arrangement every single time I perform. So we’ve looked at the ideology of mapping, but what about the sounds themselves? When I grab a plugin to build a sound, whatever element of that sound feels like something I should be able to change gets a control. Sometimes this means building a rack to do this, other times I just map a parameter, either way I let Ableton foolproof the setup for me. To achieve this, I build Effects racks that have chain selectors in them with dedicated effects that sound great whenever I use them. Delays or Beat Repeats are set to all of the indivi- dual values I might want to use and then I map the Chain selector to a knob to easily move between Fig. 2Photo: Jessica Ramos

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