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Here’s 64 how they work. 65 66 We’ve all got pretty strong opinions about AI, in either direction of the 67 argument, especially when it comes to the creation of anything artistic. So 68 it’s worth being clear from the outset: Ableton’s MIDI Generators aren’t AI in 69 the machine-learning sense. Instead, they’re algorithmic tools that generate 70 patterns using rules, probability, and randomisation rather than models trained 71 on musical data. 72 73 In this guide, we’ll explore what they actually are – and more importantly, get 74 you creating with them. 75 76 What are MIDI Generators? 77 78 As stated above, in their simplest terms, MIDI generators are algorithmic 79 composers that use predetermined mathematical formulae to create musical 80 phrases. 81 82 Although each generator will offer its own approach, each will present you with 83 a selection of controls that allow you to tweak the algorithm. Perhaps the 84 speed of notes or the range of pitch, for example. Then, when you hit 85 ‘generate’, it will use its own maths and a degree of randomness to create a 86 pattern. 87 88 These tools are great for getting started. Notes are, of course, still 89 editable, but they could get you over a creative block or offer something your 90 track would never have arrived at otherwise. 91 92 Before we begin, it’s important to understand that it’s highly likely your 93 examples won’t sound like ours – that’s the point. So we’ll share the process 94 as we go, but don’t worry if yours is different. 95 96 Ableton Live’s MIDI Tools 97 98 If you haven’t found them yet, Ableton Live 12 introduced two collections of 99 tools that can be used directly within the piano roll. You’ll find them in the 100 final two panels of the clip’s properties. 101 102 [lazy_placeholder][FIG-1] 103 104 The Transformation Panel is fourth from the left and contains the 105 Transformation Tools. These tools allow you to change the notes in your clip, 106 maybe quantise them, or strum the notes of the chord. They deserve their own 107 exploration, but it’s the Generative Panel, the final panel of five, where 108 you’ll find the Generative Tools, and here is where we’ll stay. There are five 109 tools here, and we’ll explore each one. 110 111 Choose Auto On or Off 112 113 The Auto toggle controls how results are generated. When Auto is on, changing 114 any parameter automatically creates a new result. When it’s off, you need to 115 press Generate manually. 116 117 For the examples below, Auto is turned off to prevent accidental results when 118 adjusting settings. It gives us more control. 119 120 Generated Length 121 122 You might assume the tools generate content across the entire clip, but they 123 actually generate only within the Loop Brace. Because the Loop Brace is often 124 the same length as the clip, this isn’t always obvious. 125 126 If you want four bars of generated material, set the Loop Brace to four bars. 127 128 This also lets you generate new ideas inside specific parts of an existing clip 129 , rather than replacing the whole thing. Very handy for drum fills, for 130 example. 131 132 TOOL 1: Rhythm 133 134 Rhythm focuses, unsurprisingly, on generating rhythmic patterns, so we’ll use 135 it to create a beat. Start by creating a new MIDI track and loading a drum kit 136 you like. In this example, I’m using the 808 Core Kit, with the 808 Shaper 137 preset on Saturator followed by Drum Buss in its default state. 138 139 Next, create a blank MIDI clip and open Generative Tools, which defaults to 140 the Rhythm module. 141 142 The main menu normally controls pitch, but when working with a Drum Rack it 143 displays the individual voices of the kit instead. Select your Kick Drum and 144 click Generate. Most of the time, you’ll get a four-on-the-floor pattern. 145 146 One important detail: Rhythm only works on one voice at a time. You can 147 generate a pattern for the kick, then move on to the clap or hi-hat, but you 148 can’t process the entire drum rack at once. This means building the beat voice 149 by voice (or layer by layer). 150 151 Once your kick pattern is generated, you’ll see the notes selected in the piano 152 roll. Before moving on, deselect the notes. If you leave them selected, the 153 next generation step will replace them. Since we want to build the beat 154 gradually, each voice needs to remain in place once we’re happy with it. 155 156 Now choose another voice from the menu. Let’s try a closed hi-hat. Click 157 Generate, then use the three available controls to shape the groove: 158 159 • Steps determine the length of the pattern 160 • Pattern changes the placement of notes 161 • Density adjusts how many notes appear 162 163 After generating the hi-hat pattern, you’ll notice the kick notes turn grey. 164 This simply means they already exist in the clip but are not currently being 165 controlled by the generator. The coloured notes are the ones actively being 166 generated and will change as you tweak the parameters or click Generate again. 167 The grey notes remain untouched. 168 169 This behaviour applies to all generators: grey notes are fixed, coloured notes 170 are active. 171 172 Finally, place the snare or clap manually on beats 2 and 4 to establish a 173 strong backbeat. From there, you can experiment by adding elements such as a 174 rim shot or low tom with the generator, quickly producing rhythmic variations 175 you might not have programmed yourself. 176 177 [lazy_placeholder][FIG-2-3] 178 179 Top Tip: The Shift parameter moves the generated pattern right on the piano 180 roll. Try adjusting it to reposition the rhythm and explore variations. Don’t 181 forget to experiment with Offset as well – it’s another simple way to generate 182 fresh rhythmic ideas. 183 184 Tool 2: Seed 185 186 Seed generates melodic material, so we’ll start by using it to create a bass 187 line. 188 189 Create a new MIDI track and load a bass sound you like. Here, Wavetable uses 190 the Basic FM House Bass preset with Tri + Sub selected. Add a blank MIDI clip, 191 then open Generative Tools and select Seed. 192 193 Use Seed to create a bass line, setting a narrow pitch range to keep the 194 generated notes within the lower Set both Duration sliders to 1/16 to create a 195 bass line with some space between notes. Duration controls the length of each 196 generated note, so setting the range to 1/16–1/16 ensures every note is the 197 same length. Widening this range introduces variation in note lengths. 198 199 The same principle applies to Velocity. Setting the range to 127–127 keeps 200 every note at the same velocity, while a wider range would introduce dynamic 201 variation. 202 203 Next, set Voices to 1, since bass lines typically play a single note at a time, 204 and set Density to 50%. Press Generate, then repeat until a bass line appears 205 that works for the track. 206 207 Earlier, Auto was turned off to maintain control while exploring the tool. For 208 this stage, however, it’s worth turning Auto back on and letting the clip loop 209 while adjusting parameters, so the results can be heard in real time. 210 211 [lazy_placeholder][FIG-4-5] 212 213 Top Tip: Generated notes follow the key set in Ableton. Choose the harmonic 214 centre before generating, as changing the key will produce different results. 215 216 Tool 3: Shape 217 218 Shape redistributes existing notes, making it useful for creating vocal chops. 219 Add “L10 Demo Voc Reverb 2” from the Core Library to an audio track, then slice 220 it to a new MIDI track using 1/8-note divisions. Once sliced, delete the 221 original audio track, as it is no longer needed. 222 223 The resulting MIDI clip will play the sample slices in their original order. 224 Open Generative Tools and select Shape from the menu to begin redistributing 225 the slices. 226 227 The displayed shape determines how the notes are played. Different shapes can 228 be selected, or a custom one can be drawn. In this example, the Up shape is 229 used, though any shape that suits the part can be chosen. 230 231 The controls help reorder the notes (or slices, in this case). Rate sets the 232 note length, Tie allows notes to extend beyond that length, Density controls 233 how many notes are generated, and Jitter introduces variation from the 234 displayed shape. Adjust the controls in any order and press Generate to create 235 new variations. 236 237 [lazy_placeholder][FIG-6-7] 238 239 240 Generators might take away some of the hands-on fun of sampling and making 241 music, but they can also open the door to unexpected workflows and creative 242 directions 243 244 Tool 4: Stacks 245 246 Stacks focuses on generating chords and offers more depth than it first 247 appears. Create a new MIDI track and load a pad sound of your choice. This 248 example uses the Stereo Saw preset in Drift. Add a blank MIDI clip and consider 249 extending it to give the progression more room. A four-bar clip works well 250 here, with the loop brace also set to four bars. Then open Generative Tools and 251 select Stacks from the menu. 252 253 The diagram displays a visual representation of the chord being generated. 254 Clicking it will play the chord for preview. Dragging the diagram up or down 255 cycles through different voicings, adding or reducing complexity as you move 256 through the options. 257 258 Set the root note to suit the track, then use the plus icon to add additional 259 chords. Adjust the voicings to build a progression – in this example, four 260 chords. The Inversion control rearranges the order of notes within the chord, 261 allowing the same chord to be heard in different positions. 262 263 As with Seed, Duration controls how long the notes last. Here it is set to 1 264 (one bar), with Offset set to 0. 265 266 [lazy_placeholder][FIG-8-9] Hit the plus button (+) on Stacks to add chords to 267 your progression 268 269 Tool 5: Euclidean 270 271 Euclidean generates repeating patterns of up to four notes, making it ideal for 272 plucky parts and complex rhythmic patterns, including [62]polyrhythms. 273 274 Create another MIDI track and load a plucky sound of your choice. This example 275 uses the Plastic Lead preset in Meld. Add a blank MIDI clip, open Generative 276 Tools, and select Euclidean from the menu (fig. 10). 277 278 Before generating a pattern, choose the notes each voice will use. Start by 279 considering which notes will work with the existing bass line and chords. Open 280 the Voices tab, select the notes you want to use, and disable any unused 281 voices. In this example, four notes are chosen that fit the bass line and chord 282 progression while staying within the root key. 283 284 Steps sets the number of steps in the pattern, Density controls how many of 285 those steps are filled, and Division sets the rhythmic value. 286 287 At this stage, the selected notes will likely play together. The real variation 288 comes from rotating the position of each note around the circle. Press the dice 289 to randomise the rotation, then adjust Steps and Density until a pattern 290 emerges that fits the track. 291 292 [lazy_placeholder][FIG-10-11] 293 294 The following example plays all the generated parts together. 295 296 Next steps 297 298 Ableton’s generative tools reward experimentation as much as expertise. The 299 more they’re pushed beyond their obvious uses – Seed for melody or Rhythm for 300 percussion – the more interesting the results can become. 301 302 The exploration doesn’t end with Ableton’s built-in devices. Ableton Suite also 303 includes generative tools by developers such as Iftah Gabbai and Philip Meyer, 304 [63]which are available in the Attack Store. 305 306 Don’t have Ableton Live? Buy it [64]here. Heads up, it’s an affiliate link. If 307 you buy through them, we may earn a small commission (it doesn’t affect the 308 price). 309 310 Follow Attack Magazine 311 312 [65]Facebook [66]X [67]YouTube [68]Instagram [69]SoundCloud [70]TikTok 313 314 Attack Store 315 316 [71]View products 317 318 [lazy_placeholder] [lazy_placeholder][Store-Product-Images-Magazine-Collecti] 319 320 The Secrets Book Bundle 321 322 Get 2 best-selling music production books. Buy more, spend less. 323 324 [73]Buy Now 325 326 [lazy_placeholder] [lazy_placeholder][Store-Product-Images-Magazine-Collecti] 327 328 The Producers’ Book Bundle 329 330 Get 3 best-selling music production books. 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