3/23/2023 0 Comments Ableton arpeggiator simple delay![]() Note Echo has two controls not found in Simple Delay: Pitch lets you create an incremental offset for each successive echo, and Feed Delay adds Velocity scaling to successive echoes. Note Echo offers only one delay channel, but you can easily group two or more of them in parallel in a MIDI Effects rack for more complex rhythms. ![]() You’ll find a number of different MIDI delays in Live’s Max For Live library, and I’ve chosen Note Echo, modelled on Live’s Simple Delay, for the example shown in screen 2. ![]() Rotate these to produce all variations of each pattern as indicated on the right.Instead of repeating a pattern while notes are held, a MIDI delay line lets you trigger one-shot patterns or, by adding some feedback, repeating patterns that fade out over time. Keep in mind that you can automate or manually change most of Arpeggiator’s settings on the fly to add variety to your patterns.ģ: The 16-step Euclidean rhythms on the left were derived using the stretch-and-quantise process shown in the centre. Four Arpeggiator patterns - Pinky Up, Pinky UpDown, Thumb Up and Thumb UpDown (used here) - are especially well suited for percussion. Mapping its settings to knobs and notes as shown lets you make real-time changes in the delay pattern.The second Arpeggiator example in screen 1 generates a closed, open and foot hi-hat pattern, and again, the Velocity section is used to add contour. That pattern is set to retrigger every three eighth notes, which matters only because of Arpeggiator’s Velocity settings, which, combined with retriggering, create an accent on every third high-tom hit.Ģ: The Max for Live Note Echo is a MIDI delay modelled on Live’s Simple Delay. Arpeggiator generates the high-tom part in eighth-note swing time (alternate eighth notes delayed to the next triplet). The first arpeggiates a single note to generate a high-tom part meant to accompany a basic kick and sidestick pattern. To add variety, change settings on the fly or capture Arpeggiator’s output and edit the clips.Screen 1 shows two Arpeggiator setups that illustrate how you can go beyond simple repeated hits. (You can also use audio delay effects such as Live’s Simple Delay to get similar but less editable results.) Let’s start with Arpeggiator.ġ: Live’s Arpeggiator provides a quick way to create interesting top patterns for percussion over your drum grooves. Live’s Arpeggiator MIDI effect will do nicely, but for MIDI delays you’ll need to turn to Max For Live, and fortunately, Live’s Max For Live library is loaded with them. The quickest way to turn a single drum hit into a pattern is to push it through a MIDI delay or arpeggiator effect. ![]() Two things to keep in mind throughout: these techniques are often best used to create ancillary percussion parts to complement existing grooves, and you can use Live’s Groove Pool to align them with your underlying groove. This month we’ll look at two ways to generate drum parts using automated repetition and Euclidean rhythms. Live offers plenty of tools to perk up insipid rhythms.Ī good groove is hard to find, and once you’ve found one it may still need a little help, so a shove in the right direction is always helpful.
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