Check out The Sound Playground, my 8 week music production course for beginners in Ableton Live! Enrollment open through 10/13. www.lillianfrancesmusic.com/class-1
Mr. Bill is one of the few Ableton tutorial creators that I've watched multiple times. He seem to make music by discovery, i.e., pushing different Ableton devices out of their comfort zone and getting serenpiditiously wacky and fun sounds and picking best of them by using his ears, then chopping and combining the sound bites to produce totally unique sound world that is delicious to my ears. He's a pioneer in my book, and for those new to Mr. Bill this might be eye-opening. I think Slynk has similar way of doing things, and the artist Venetian Snares, too, who's perhaps my favorite composition-wise. (This comment is made before the video actually is premiered, so I could be shown to miss the mark.) Great concept, Lillian! Good luck getting other people to introduce their way of writing music.
I'm really looking forward to this Lillian! Mr. Bill is one of my favorite producers - I don't make music in his style but the quality of his mixes are simply unreal!
The old guys who mixed and mastered on analog gear always say that the answer for vocals regardless of outboard gear or plugins, is parallel compression. Just two compressors in a row each doing less work than a single one makes for a much more natural sounding vocal. Obviously not a perfect solution for every case, but can seriously save you time going over a vocal take.
@@LillianFrances Typically that. Parallel compression and some automation to lighten it if it starts to colour the sound too much (or too little lol). Case by case, right? But lately I've been mixing in the compressed signal to the dry signal with a second chain in a group. I think one of your last couple vids talked about that if I remember correctly.
Awesome video. These tips are invaluable. Unfortunately when I try to drag in the .adg files that you linked for download Ableton gives me a message at the bottom saying "only audio effects can be placed in this kind of track". I've tried dropping into both audio and midi tracks. I've never had this issue before but do you know how to resolve it?
hey christiaan! what version of live are you in? I've had some folks let me know that it also wasn't working for them. I'm on live 11 on a mac, so that could be the disconnect unfortunately.
@@LillianFrances I'm always surprised by the array of techniques displayed by different producers nowadays, whoever you get, i'm sure it'll be an interesting watch!
@@LillianFrances both, specifically bill. He didn't seemed concerned with cpu. I do believe I heard a few dropouts. Please include hard drive config. I'm on m1 mini, external nvme, external Samsung t7, mechanical 4 backup. Just curious.
@15:18 John Coltrane, Miles Davis, Stravinsky, Bach, Pat Metheny, Chick Corea, Lilian Boulanger, Nahre Sol, Stevie Wonder and a ton of other amazing musicians/composers just hung their heads and were like, "this guy doesn't know what he's talking about". He's just strawmanned an entire creative approach solely out of ignorance. Not cool. As it is, I love Mr Bill's music and he's entitled to choose whatever works for him. He does great work, so arguably he doesn't need it. But there's no need to diss music theory in this way, particularly when it's easy to point to numerous people that have used theoretical concepts in a way that lead to original ideas in a way that is completely different to the mechanical way he describes, (mainly through lack of experience or understanding of that approach). Particularly when there is a whole universe of sounds that you would be unlikely to get to simply through mere happenstance. At the moment, in one project, I'm using modern orchestral composer, Messiaen's, modes of limited transposition, to derive chords and melodies to make some of the darkest Drum and Bass you can imagine. While in another project I'm cross pollinating Neosoul, again with Drum and Bass, using quartal and quintal harmony, derived from artists like Pat Metheny and Mcoy Tyner to create lush chords that sound amazing when orchestrated using virtual orchestra's, virtual analogs like Diva, along with all electric and acoustic piano. In another I'm creating ambient music using sequenced complex polyrhythms that derive harmonic and melodic material from voicings based in modal theory, often by assigning different rhythmic values to interval in a voicing, (an idea I got from Moog's Subharminicon).. Could I get all these sounds and texture with out some knowledge of theory? Very unlikely. Also, I absolutely don't feel that I'm working to a prescribed formula, or not exploring in any way. What nonsense. And the ironic thing is almost all the engineering concepts that he knows are 99% of the time more complicated than most music theory, (apart from some set theory mathematical stuff) and in some ways also far more circumscribed and limited in terms of what you can do while still creating a coherent sound. If he studied theory he'd probably be surprised at how easily he picked it up and actually saw how many doors it opened rather than closed. That complaint aside, great tutorial. I got a few sound design ideas, mix ideas and more insight into some of his key sounds which I think are great. It's just that statement on theory was kind of grating and just plain wrong. Other than that, it's all love.
![Lp. Сердце Вселенной #1 НАЧАЛО ПУТЕШЕСТВИЯ [Новый сезон] • Майнкрафт](http://i.ytimg.com/vi/380Q7gLWGvk/mqdefault.jpg)
Check out The Sound Playground, my 8 week music production course for beginners in Ableton Live! Enrollment open through 10/13.
www.lillianfrancesmusic.com/class-1
Mr. Bill is one of the few Ableton tutorial creators that I've watched multiple times. He seem to make music by discovery, i.e., pushing different Ableton devices out of their comfort zone and getting serenpiditiously wacky and fun sounds and picking best of them by using his ears, then chopping and combining the sound bites to produce totally unique sound world that is delicious to my ears. He's a pioneer in my book, and for those new to Mr. Bill this might be eye-opening. I think Slynk has similar way of doing things, and the artist Venetian Snares, too, who's perhaps my favorite composition-wise. (This comment is made before the video actually is premiered, so I could be shown to miss the mark.)
Great concept, Lillian! Good luck getting other people to introduce their way of writing music.
Yaaaa! I totally agree - he's incredibly inventive and inspiring. And hella fucking knowledgeable. I don't think you'll be disappointed 😁
I'm really looking forward to this Lillian! Mr. Bill is one of my favorite producers - I don't make music in his style but the quality of his mixes are simply unreal!
Zomg! I'm so excited, too. It was an absolute joy to tour his project with him!
I made the same face when I discovered mr bill's technics !!!
Great channel and vids here, thx !
M4L for life 🧬.
M4L is bae ✨
Man such a goldmine! Thx a lot both
Just one little tip is to upload in 1080p because it's kinda hard to read some stuff in Mr. Bill's Ableton set up in 720p hahah
i believe the plugin Vocal Rider would've helped with all that manual volume automation
I feel like every few minutes bill's headphone muffs get bigger and bigger like something out of Hot Shots or Airplane
This is hands down the best insight into his mixing process, I have followed his courses for the last year but this is so concise, thank you!
yippeeeee love to hear it!! thanks TOVA!
Really loving this :)
love to hear it! thanks for watching, jelly!
this was dope great job
thanks spy spy!
def gonna try throwing midi at my sidechain. i make house/techno, good advice for any genre really.
the "average" of all pop music is Bruno Mars, LoL
nice! let us know how it works out. tbh i'm still using audio sidechain just cause it's easier and engrained in my workflow 🙃
@@LillianFrances just ran into this, i'm surprised Bill doesn't use it: ua-cam.com/video/16CcS7dj0zs/v-deo.html
Bangas Bangas Bangaaaaaaasss!!!!! Excited for this new series!!!!!!
hi gurssss thanks gursssss 💕✨🚀
Plus one on disperser. Love that for bass layers and percussion.
yeah i have it but never use it!! that's gotta change! will try on some bass & perc...
mr. bill, tom cosm, and slynk. the holy trinity
oooofffff that would be LITTT!!!
Love this inspo let's put it out into the ether
Bill 4 lyfe
troof
So cool to see what the project file of ride or die look like. I was hoping he would solo the synth played in the intro at some point in the video.
i know isn't it so fun to see other people's projects??? I'm glad ya liked it! and oof, yes that's a cool synth that would have been dope.
I've heard that OTT loosely follows a Fletcher Munson curve.
The old guys who mixed and mastered on analog gear always say that the answer for vocals regardless of outboard gear or plugins, is parallel compression. Just two compressors in a row each doing less work than a single one makes for a much more natural sounding vocal. Obviously not a perfect solution for every case, but can seriously save you time going over a vocal take.
ah, well it's all a matter of taste & art. i do a combo of some vocal automation, but also two compressors. what's your normal approach?
@@LillianFrances Typically that. Parallel compression and some automation to lighten it if it starts to colour the sound too much (or too little lol). Case by case, right? But lately I've been mixing in the compressed signal to the dry signal with a second chain in a group. I think one of your last couple vids talked about that if I remember correctly.
@@altogethernow nice! yeah that would have been the parallel processing vid ☺️ sounds like a good a approach!
@lillian
can you share the link for the song
that would be smart! open.spotify.com/track/6IiDOcIA7zru5Swdmnj4VW?si=fa38c40f35f2465f
Awesome video. These tips are invaluable. Unfortunately when I try to drag in the .adg files that you linked for download Ableton gives me a message at the bottom saying "only audio effects can be placed in this kind of track".
I've tried dropping into both audio and midi tracks. I've never had this issue before but do you know how to resolve it?
hey christiaan! what version of live are you in? I've had some folks let me know that it also wasn't working for them. I'm on live 11 on a mac, so that could be the disconnect unfortunately.
@@LillianFrances hi! I’m in 10 Suite 2
Getting Mr bill for episode 1 is some big dick energy! I'm looking forward to see who else you can get on this show!
Nice one!
ahahahah that's a funny way to put it 😅 and fuck yes - me too. who do you wanna see next??
@@LillianFrances I'm always surprised by the array of techniques displayed by different producers nowadays, whoever you get, i'm sure it'll be an interesting watch!
@@LillianFrances How about Underbelly!
@@StonxMusic hell yea!
@@wobbleshop8877 that's a great idea 😁
computer rig?
lol me or mr. bill???
@@LillianFrances both, specifically bill. He didn't seemed concerned with cpu. I do believe I heard a few dropouts. Please include hard drive config. I'm on m1 mini, external nvme, external Samsung t7, mechanical 4 backup. Just curious.
@@ThreeBeingOne he has his specs on his twitch
@15:18 John Coltrane, Miles Davis, Stravinsky, Bach, Pat Metheny, Chick Corea, Lilian Boulanger, Nahre Sol, Stevie Wonder and a ton of other amazing musicians/composers just hung their heads and were like, "this guy doesn't know what he's talking about". He's just strawmanned an entire creative approach solely out of ignorance. Not cool. As it is, I love Mr Bill's music and he's entitled to choose whatever works for him. He does great work, so arguably he doesn't need it. But there's no need to diss music theory in this way, particularly when it's easy to point to numerous people that have used theoretical concepts in a way that lead to original ideas in a way that is completely different to the mechanical way he describes, (mainly through lack of experience or understanding of that approach). Particularly when there is a whole universe of sounds that you would be unlikely to get to simply through mere happenstance. At the moment, in one project, I'm using modern orchestral composer, Messiaen's, modes of limited transposition, to derive chords and melodies to make some of the darkest Drum and Bass you can imagine. While in another project I'm cross pollinating Neosoul, again with Drum and Bass, using quartal and quintal harmony, derived from artists like Pat Metheny and Mcoy Tyner to create lush chords that sound amazing when orchestrated using virtual orchestra's, virtual analogs like Diva, along with all electric and acoustic piano. In another I'm creating ambient music using sequenced complex polyrhythms that derive harmonic and melodic material from voicings based in modal theory, often by assigning different rhythmic values to interval in a voicing, (an idea I got from Moog's Subharminicon).. Could I get all these sounds and texture with out some knowledge of theory? Very unlikely. Also, I absolutely don't feel that I'm working to a prescribed formula, or not exploring in any way. What nonsense.
And the ironic thing is almost all the engineering concepts that he knows are 99% of the time more complicated than most music theory, (apart from some set theory mathematical stuff) and in some ways also far more circumscribed and limited in terms of what you can do while still creating a coherent sound. If he studied theory he'd probably be surprised at how easily he picked it up and actually saw how many doors it opened rather than closed.
That complaint aside, great tutorial. I got a few sound design ideas, mix ideas and more insight into some of his key sounds which I think are great. It's just that statement on theory was kind of grating and just plain wrong. Other than that, it's all love.