I Took A Pill In Ibiza Style Remake with Ableton Live & Massive – Tutorial

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I Took A Pill In Ibiza Style Remake with Ableton Live & Massive – Tutorial

hey guys this production music life I’m Francois and today we are going to check this project of mike posner I took a pill in Ibiza Seabury mix and we are going to remake the style of that I prepared this remake with different MIDI information here we are going to go through that in a minute but in this part I’m going to quickly show you the chords that are being used in the original if you’re interested so I’m going into the piano that’s playing in the background and I’m going to put it on solo this is more or less what they’re playing in their song and we we can quickly figure out the chords here we have AG minor and we’re playing it one octave higher again followed by an F major here three semitones two semitones major chord if you want to learn a bit more about chords you can check out our newly made course on how many in chord progressions where we are going to explain how this works and how you come up with interesting chords and the next chord down here is a it’s a dish ARP major seven chord because we have this major down here there’s our seventh and we are playing the basic major chord on top again so we have this nice and full chord and the final two chords are a simple a sharp major chord with an added to note here those added tone chords always sound really nice and now we are closing with an F major six with root node a so if we play everything together we can actually also take a look at the plucks up here our bass obviously plays the bass notes for those chords we have G F D sharp a sharp and a and if we go down to those vocal bits I was playing around with a couple of vocal samples I think what they did in the original is they took a part of Mike Posner actually singing something with some word with an A inside and then they use that sample for the vocals but it’s really hard to take those those vocals out of the original because there’s no real a cappella version or at least I couldn’t find one so I try to use another a type of song sound and some other vocal sample on top so this is what how you could do it which is playing this pattern and then we’re just using the simpler devices from Ableton and we are putting on the glide mode especially on this sound here with a bit of portamento and a bit of horror mental time up here and an overlap in the notes to get this gliding effect you could you play that together with one of those on chords probably getting a bit more obvious use again and here they are not really playing too much in the original they’re singing this is when the vocal kicks back in in

this back part so this is basically how you would do this original MIDI setup and now we are going to have a look at the complete remake style here with a couple of different Middies I’m going to quickly play it in so let’s get a quick overview of this project we have our kicks and drum elements up here below the sidechain and we have more highlights and shaker loops and shaker sounds down here and a couple of bongos and also clap effects and then we go on and we have our bass sounds here followed by the chords and plucks a couple of pipes and bells then we have piano arpeggio and background pad and then we are using this part down here for our lead vocals and below that we have a couple of plucky top sounds so if we pick out this drop part here first and we try to build it up in front in this front part we can start with our kick in sight and I’m quickly going to copy those tracks and we are we’re basically starting with a simpler device and we are putting in one of our new premium kicks I really like this one and so I plug this in here bit of a cut in the Boxee frequencies and then we are going on we have a crash sound here so this crash sample I have a big reverb on my on my second send/return Channel here we are sending it to the crash channel and it’s open up quite a bit is it’s seven seconds long and it’s a big sized reverb so this is where you get this depth into your sample if I if I were to turn this off still have the delay effect so you probably know about this so we can go on and take the snip sample which is quite important here this one it’s out of out of the claps up here 29 yeah and the important thing here is we are at position one point four we are not playing the first clap position we are playing this one with a clap and the second one with the snip and you might be wondering why why are you doing all this outside of the drum rack well I want to be able to move those tracks around with the track delay later and drum racks don’t allow for that so I feel there’s a bit more overview if you work like this and you can quickly adjust those two clap sounds for example that one has to play four milliseconds after the actual positions and that one a bit earlier so it’s nice to adjust those clap sounds for example with track

delay and you see a bit of processing here on almost all the drum and hi-hat sounds I’m using a bit of those sent reverb effects and then we have a course a low-cut cutting off some of the frequencies are not being used that’s important for our mixing stage later so we don’t have too many frequencies interfering and I made this quick sample here it’s a reversed white noise and I’m playing that one right in front of the the second clap so we have so this swoop and it’s a bit earlier I put it in a bit earlier so this actual overlap is not not really happening so we are playing it earlier we are playing it basically 14 milliseconds earlier so if we look down here it’s 65 and that’s 70 so basically we’re playing it this much earlier so we are not really interfering anymore that’s the cool thing about the track delay function it’s really really handy okay so our next element in the drop would be the two white noises actually you could only use one but yeah I know I kind of used to hear and they are made with massive just a white noise in massive and well deactivate all the other oscillators and you know did yeah and pan position on a voicing is up a bit into stereo and if you check out the compressor is its side chain to to our side chain channel so we have this pumping effect and we are rolling off some frequencies here already putting on the vinyl distortion so this is always a nice effect to get your sound a bit more natural if you go into the vinyl Distortion and in the audio effect and you select your this preset and move up the lower part a bit mid/side eq and it’s not that important here so it’s it’s a white noise so do you put a low-cut and then you put a utility automating your volume and that’s about it so same thing with the second one that one is also being volume alternated swooshes up and down during the playback and let’s put in those hand drum and vocal haze here they’re quite important to the feel so we have two sounds we have this hand drum where the delay four to six and low-cut on the send channel and we are at last to sixteenth notes and we’re combining that sound with this hey focus shot and I put a heavy chorus on top of that one so that’s cool sound here really a great feel inside of the playback if you quickly play that alright let’s take the base and put it in there I’m copying the MIDI pattern here and we have the sub bass it’s it’s a massive sound as well all the sounds in here are made by massive or designed with Ableton Live elements no third party plugins other than massive used and if I open this up it’s basically a bass sound out of our tropical house preset pack check the description for that one I think all these sounds in here are more or less out of the tropical house volume two pack and we are using the sine wave down here a bit of a saw wave one octave higher to to get a bit of frequency range activated around here with er with

a saw wave so we also hear our sub bass on laptop and smartphone speakers and also tube on top – to enhance the sound so this our pattern side-chaining it to the sidechain channel as well and going on we also use this mid bass even another one for smartphone speakers it’s playing up higher so in those frequencies here so also for mixing reasons I took off all the low-end on this sound because the low-end in the lower frequency is already covered by the by the sub bass if you look at this pattern we don’t need to put in more here so make sure to cut off all those frequencies on the other sounds to avoid piling up a lot of signal in those lower frequencies because that is going to be the number run the number one reason to mess up your mix actually Tom and I were just finishing a course about mixing in Ableton for mostly electronic music and by the time you watch this might be already finished so check the description for that course and if we go on we can select this pluck sound here okay that one is not the number one sound I wanted to talk about let’s go into this one first and then we combine those block sounds and we take later one where we have the filters open up so this is this typical pop music moody signature sound here I really like this sound and it’s being used so many times already and you can see the chords again here and we have this plucky this blocky structure is quite similar to the major laser lien on blocks and we are also rolling off low-end here we are putting in a bit of delay and a side chain and our massive sound is again k is pluck out of our tropical house pack and well stop your screen if you want to copy this patch but it’s basically the needle this saw wave and a bit of the grown and some phase modulation in there as well on Alfred oscillator six voices and well obviously we need a plucky envelope so a short one so you can imagine if you use this sound on another track on an own new style you could always open up at the end of your eight bars or sixteen bars and make a drop into the next part so that’s something like something like that probably heard that before already combined with a another clock sound it’s a bit more to the left and right it sounds a bit like guitar that’s what I like about this sound we have this B pulse wave table that one has a nice sound yeah and also we’re playing the same chords so and now you see the reason why I put in this this next sound here this upper sound is to get some upper

harmonics into those black sounds so you see I cut off the low stuff here and I also cut the low mids in the middle in this mid/side eq this one is on stereo mode this one is on mid/side mode I use the square wave exactly so this is a quickly designed sab a quickly designed preset just for this purpose here so we have a square wave and we have the crumb the chrome wave table and those two combined with a bit of a metal noise so if we just play the squared solve wave and we put in four voices and pan it you can see how important this knob and the pan position actually is we are also putting in the low pass for filter opening up the resonance and this envelope controls the cutoff so you can play around with that as well I’m unmuting it for now and the second envelope controls this pitch but I actually took it off so let’s put the chrome back in here and the metal noise and the parabolic shape often times is handy to to get that crisp up there in the sound so that was already a nice session of sound design here up to this point so Ln for a bit more organic field I put in a couple of pipes and bell sounds they’re not really necessary but they add a bit into the feel as well and if you have those hand slab pipe elbow four packs in your Ableton in your Ableton where’s that from hand slap sound objects and if you have those bills at the mallet sound the cover mallet also from the sound objects light pack so you if you use Ableton life suite you have those packs coming with your version or suite and if you don’t have that I actually made copied simpler devices here and put in the sounds the copied version of the sounds let’s compare the pipe sounds quickly so that would work in case you don’t have the pack and but what happened to this sound it’s just this pipe II booty kind of plucky sound in there as well rolling off some low-end a bit of a chorus to widen the sound course always takes a bit of attack out of the sound which is nice here then we are warming up the highest with our saturator warm-up is that one and then the typical mid side mixing that’s always pre step for the mixing stage so we are not going to use the sound here in our mid panorama so I’m rolling this off and I’m moving in a bit to the sides a bit of delay in their utility controlling overall volume and sidechain now you can see I put the track delay on 12 milliseconds because I don’t want them to play all at the same time it sounds more organic if you let some of them play a bit earlier in some a bit late so basically the same thing

happened with those bells just put them in for the feel they’re not really a driving factor here sometimes it’s quite funny if you prepare something for your mixdown and then later you listen to the sound in solo it sounds really crappy but it wouldn’t make any sense to play that bell sound on its own but if you put it at the right position in your mix and you have it relate to the other elements in the mix it actually makes a lot of sense to fill that gap in there so this is always an important step it doesn’t really necessarily mean you have a good mix if every single sound is perfectly designed as you like it in by soloing the track and turning your knobs until you love the sound if you combine them with other sounds they will most probably interfere in very important frequency ranges and you mess up your mix later so this is why sometimes you have those crappy little sounding elements in there or they don’t sound that good and you’re like why don’t we just leave them out there so this is a simple explanation for what happened here and if I copy the piano pattern we have this grand piano from our grand piano pack stretch one and well again we’re rolling up a couple of frequencies here not too much going on and filter because we were using the higher frequencies for other sounds and again if you like to come up with chords like that and you have no idea how to do that we put together a course explaining everything you need to know about chords and chord progressions and harmony and those types of voicings so check the description for that one and you see I’m keeping that one in the background and also to put in a bit more natural few I’m delaying the piano the piano is always a bit late compared to the other elements oh by the way we can quickly make in on off with our mastering change so actually I should have done it without the mastering chain on that that one is not heavily used here so we can quickly turn it off it’s our simple Ableton only mastering chain and I only use this EQ and this punch compressor the catch Peaks compressor and a bit of the sustain compressor and you see they’re not heavily working here so a final touch is EQ we have a tutorial on setting up this mastering changes check our channel and put in mastering chain and then you will find that tutorial so if I put this off it’s basically just putting it a bit higher in the amplitude and volume and catching a couple of peaks but it’s not doing too much here so don’t worry about that there’s a difference if you play them right after run another but so the perception of volume is always quite deceptive things can easily sound better at higher volume you might be wondering okay so what is this up here and that’s just our master effect rack because we are using this filter at a couple of parts so just to filter up the low frequencies and get this DJing Club effect in there if I put this one here to turn those knobs up right during playing back to track let’s play a drop or something actually you created that effect for

DJing with life or those DJing sessions but sometimes I’m also using them in tracks so this is a basically a fade to gray is a reverb combined with a delay effect yeah so what else is in here we have this arpeggio playing a nice little melody in the background you can always put something like that in the background to enhance and enrich your sound and make the overall experience of your track sound more full and more elevated so this background pad here combines the piano same chords and we just use that one mostly in our break parts and you can also see how I’m automating the filter on top of it because I don’t want to open up during the break parts get this nice little ambience with the filter down so how do I get this pad I use a sine wave and I combine it with a saw wave and put on a little pass filter since it’s not the most important element I’m going to hop to the next part and we’re going to check out those vocals here so I’m copying both of those tracks or all three of them and we are going to look at this in a bit more detail again it would be great to have the original source vocal here but it’s how to get that one so I’m trying it with with this one and we’re going to put off the effect chain for a second I’m going to actually I’m grouping them now and turning off the group I actually took this out of the original mike posner I took pill in Ibiza right at the end of the song there’s just a part where he’s singing and a couple of guitar strums are going on but there’s no beats or something interfering so you get quite a clean version of the vocal but there’s a bit of guitar harmonics below and that’s what you hear down here as well so you have this lower lower element below the vocal again we are playing those short notes here and the sample is already cut and if I were to put the start at the beginning the real depends on where you’re where you’re in where you’re sitting in your sample and going back I’m also looping the sample here and with the loop function and then I’m putting up the loop to 100% the length is quite short and I’m putting up the fades so that determines how sharp is going to loop this one I want a less sharp so with and also with a bit of

attack and then you see a detuned it and transpose the bit and I put on the portamento and the spreader so without the spreader it’s more in the center and with the spreader up we are moving it to the side okay and now let’s this looks like a crazy crazy effect chamber it’s just the sound showing the sound design process here so I’ll try to fix it step by step into the direction that sounds good in the mix or sounds good enough and we have a couple of eq’s here so this is not the best practice it’s just showing the work flow so you cut something out of there and then you move on and then you cut even more and you realize okay we have resonances going on here and then you go on and on okay so the first element is cutting of the lower parts here and focuses a bit on this sound sidechain compressor and the next one is the erosion so if you go to your audio effects and you put an erosion because the original vocal sample in the remix has some sort of erosion on top I’m not sure if they did that with Ableton but a good approach to getting closer to it is using this wide and dirty preset from the erosion and putting the amount to around 15 so if I were to put this out I should we need to cut off all these effects behind so you’re getting this crisp in there I put up the amount it’s getting more obvious even okay and another compressor squeezing the sound together a bit more so we don’t have this sharp and harsh vocal transient and this one is just control for controlling music so we move on to the next element and we are taking off some resonances here and also those vocal bits around well 300 or where are we here yeah four hundred to two hundred somewhere in this region is a bit piling up with the pluck sounds so we take that out as well let’s let’s listen to this one in solo mode it’s a pretty hot that’s a bit harsh here so I’m taking this off and you don’t don’t really have to do the same thing it’s it’s really a sound design process and it’s and just shows the steps that were necessary to get the sound where it sits right now so this is really heavy here mid/side eq and the snores is another erosion and ever we can we can skip this rectifiers I’m just going to show you so let’s put in saturator and this rectifier preset also can help you enhance your sound if you put that in and but you probably want to do that on an electronic guitar or something if we go on now we can see a bit more adjustments in the EQ and finally you’re trying to get rid of a lot of resonant stuff oh thank God we got these out it’s really messy in the mix later and then we have a simple delay here so with this vocal effect chain I’m not suggesting that you do anything like that it just shows you how crazy it sometimes goes if you don’t have the right sample and you need to get a sample sound a bit more like something

totally different so this is what happens you need to manipulate your sound and work your way through all those effects and it’s never going to be as good as working with a better sample so this is just a heads up maybe and shows you what you can do but also what the downsides of this type of work are and you’re also getting quite a CPU heavy chain here so if I’m going to show you this higher vocal here we can see I use the different sample and can actually delete those effects they’re not being used and we have another low-cut here and just a bit of EQ in add some resonances of this sound and chorus behind in a bit of a simple delay so let’s listen to the initial sound by doing the same thing again and putting this effect chain into a group and deactivating the group so a bit of a glide here we have this overlap in the notes so a little bit of an overlap here there and there that’s getting that’s what’s getting the glide in here we have we are starting a bit later and we are putting quite some attack on here so we have a fluent move in this looped sample and actually see how it’s triggering the loop so that one is a bit easier we are just putting in a bit of compression that’s actually saturating compression but we have more compression here we are getting a rid of a bit of the dynamics and the low-cut views room for bass frequencies and as I said this EQ gets rid of a lot of resonances so for example this one and one could get nasty if played out too loud and a bit of a chorus on top will actually love course so it doesn’t sound like one single voice it sounds a bit like a combined effort of several singing voices and a bit of a simple delay and on our group we’re just catching some peaks putting a bit more sidechain and catching a couple of resonances in the some of those sounds and that one here’s just playing the same note here and triggering this additional element it’s it’s not really that important so I’m going to skip this for now and let’s play everything together I okay and let’s really take a look at this hi head section here because we haven’t talked about those hi Etsy and I’m quickly going to cover them for this tutorial to be quite complete so this shaker is important is our offbeat high hat position 1.13 and we are playing this nice shape shaker sample out of D premium again so perked right 58 this one bit of chorus and a lot of processing with the EQ and again the send reverb from our drums reverb the long one that one is almost on every drum sound somewhere in there okay and we have a couple of short high hats in here they’re not the most important elements but I’m quickly going to show them anyway so we have this pattern here can stop your screen and copy it if you’re interested I’m quickly going to

play what it’s doing in single and I’m going to play this one as well it’s almost the same pattern just missing last few notes and this one is another offbeat high ed here and was it especially important to this tropical kind of groove here is the claves playing together with the clap and those other shakers here and a reverse shaker so we have we have this late shaker it’s always one position late after the first offbeat higher shaker hit we play them together so that one is really important to the groove here and if we play together with this reversed shaker that’s just a recorded shaker sample reversed with audio and this how you get your tropical feel going together with the kick snip and claps you hear that in a lot of Keio tracks as well and in in other tropical house tracks and also in this catch release mid Simmons really cool drumming and well the last bits that are missing now are those bongos can be quickly covered just two bongo loops one playing left and the other one on the right yeah and I made those two with what I’m actually not sure that could be used a couple of those bongos we have Indy premium here just put in a couple of bongos always sounds nice in this summer kind of groove okay and we have those claves on top playing together with this massive clock sound and I use this frozen clay sample here and I tuned it as you can see a tuned it exactly to the sound of this of this massive track here or to the notes of that one and you see I just used the same patch that I created for the plucks up there it’s a square wave combined with a chrome wave here and a bit of a metal noise but in this part we are just using really couple of bits we are putting this envelope to this second low-pass filter here and we are just using those tiny bits because if you put up the level of the attack now it’s getting very very aggressive okay quickly talk about the structure of the arrangement we are we’re basically copying the structure of the underlying original track but we don’t have the vocals so I’m skipping a couple of those star parts you’re starting without many of those high heads and shakers just with the snip and the reverse clap and the down filtered versions of our block

sounds so sweet look at the Auto filters here this way it’s getting Moody and then we are opening up the filters our first build up with bongos and high hats and a bit of reversed white noise and reversed samples here with the crashes our filter on the master track the one I showed you before it’s always been opened up at the end of every eight bars so we get this flow feeling inside of there like a wave coming back and forth and yeah we put in all the high heads everything we got for this main part here and then we have a break pattern basically you can repeat the thing afterwards if you play this tropical build drop and maybe two times of those drops behind here you have a three-minute pop song and you can sing your own vocals on top of it and but I think we’re through with the tutorial more or less there’s also a playback video for this entire project you can check the link in description you can also purchase a project file for Ableton check the description for our drum samples and preset packs the preset pack used in here is massive presets for tropical house vol 2 on our website and also check our website for those courses that talked about I hope you enjoyed this tutorial subscribe to a channel and I hope to see you next time