Collaboration Reference

Coming from a live musician back ground and pulling in guest players into my Ableton set I have put this page together to help others integrate with the sound and format.

Warning : If you can’t hang on a click track aka machine running the time please tell me as this is a prerequisite.

There are 2 standard formats I tend to work with as an approach for organization of data.

1.) Platter : A platter is a 4×4 grid of samples.  They are launched in rows and follow this strict formula (based on considerable research):

1. DROP : This is the beginning of a song and can be “dropped” in from almost anywhere. This sample set is collected to provide the most flexibility and tends to be the most neutral of the 4 rows of samples
2. RAMP : This will “ramp” from the “drop” to the “deliver”. Think of this as an area to build.
3. DELIVER : This is the heaviest hitting part of the 4 samples. Usually this is used less and serves as the peak that will then resolve to something (any other row of samples typically, most commonly the “Cleanup”)
4. CLEANUP : This is the post “Deliver” area. Often (but not necessarily) similar to the drop. This should provide the release from a deliver at the same time as providing an “outro” to something else.

Here is an example of each part in the above order :

 

2.) Jam Grid : This follows more of a “DJ” mentality but as a skilled musician instead of someone pushing a button playing other artists’ music.

First the DJ mentality. If a DJ has albums, 2 record players, and a very limited bag of tricks then we have Ableton or a beat machine under control, I play synth, samples, and scratch. You (as the guest musician) have your instrument, skills, and techniques to apply.

Just as the DJ may play 4 measures of another song on top of the current song, you (as the guest musician) can do the same.

This is not a BAND! We have a machine covering the core of the music. It is our slave. It does awesome stuff. Trust me. So you (as the guest musician) now must tastefully and skillfully “DJ” your talents into this running set.

So you can drop that killer groove and then stop. Just make it work. If you want more rules, well, they have not been written all the way, that’s what this page is about – making a rule book. So improvisation, listening, flexibility, and the ability to have fun is key!

So the Jam Grid is an arc of samples that may or may not have keys associated to them.  They commonly represent a transition from mellower to heavier as I (we) progress through the various rows. Generally they do not exceed 8 rows.

Each grid is good for 10-60 minutes of “Jam”. They are easy to explain on the fly.

Something to remember! I can play any of this stuff solo. Now don’t take this personally – but I got it covered.  I remove elements or play less in certain ways when another artist is involved (duo mode).  So unlike many traditional (legacy) band projects the song is hinged on me 98%. But I get bored doing solo work. So, I like to bring in duo players as often as possible.

How the data is arranged:

For the past year+ my format has not changed. Nor do I see any changes happening soon.  The “platter” or “Jam Grid” follows a SPECIFIC column structure. Left to right I call them X, M, B, D.

X :  this is “eXtra” samples. Most commonly put into the Scratch-Box. They are also run through sound design effects patches for filler noise and coolness.

M :  Melody column. This is what ever has the melody (if any). I put notes in on the samples regarding keys, intervals, or ideas and these are easy to share. Usually this is a line from a song I loop, something like a string patch, or an acapella.

B : Bass or percussion support (Base). For solo work I use this for Bass.  For duo (commonly with a Bass player) I put base support aka percussion support.  These could be samples like hi-hats, tabla, etc.

D : Drum. This is the “main beat”. If you see this get triggered, be ready, the beat will change. If I plan on it being more abrupt or requiring some planning I will talk it out.

Here is a picture of my controller with the most critical areas outlined:

Metronome : I keep a metronome running all the time. I use it for looping samples and a few other tasks. This allows me to play without headphones as I know my samples for scratching that well. The metronome runs from the top down and commonly is on 1/4 note intervals. This element is very obvious when you see  it in action.

Stops : These buttons (outlined in the above diagram) are for stopping samples. When I use these (especially the drum) this tends to be a radical change. Beware as I will sometimes kill samples and retrigger them making little if any effect on the out going sound. I will verbalize bigger ideas and changes.

Repeat : This is my bread an butter. In short I can grab any sample at any time and repeat it at any interval I choose. This control is explicit for each “column” of samples (the X, M, B, D columns). This can throw off the  rhythm, but the machine will always be correct. Apologies in advance for the occasional “bad grab”. I usually get about 1/hour of play.

Counting : For some reason I picked up dancer counting. Where most musician count something like “1, 2, 3, 4, 1, 2, 3, here we go” I use the common protocol for dancing (and still don’t know why as I am a shitty dancer). So expect this:

“1, 2, 3, 4, 5, 6, 7, 8″

I will commonly count the “1, 2, 3, 4″ more loud, put my hand out with all digits extended for the “5” and fall off on counting after this sign. I HAVE to trigger events after that 5 in how I run my set. So this comes as a help for me and I wish to be extra clear right here and right now.

Some Common Methods:

Drop to drums : Kill everything and let the drums ride

Float : kill everything and float.

Wash : Lots of effects then something happens

Drop guest : Other player, stop!

Guest solo : Other player GO!

Scratch samples : Scratching and gating samples

Scratch keys : Scratching and gating the synth.

Build : The typical build into intensity…

Release : The blow out into something mellower

Section Calls : Ramp, Drop, etc. Could also be calls on keys or new material loaded

Tempo Change : I have to change the tempo manually, I will let you know.

I will add more over time!

Instrumentation and instruments :

When adding another instrument to this act (solo changing to duo) bass is the preferred instrument – period. After bass jazz guitar (specifically), drums as applicable, horns (preferably with processing), vibraphone, organ, and conga or some of the best instruments to mix.

We typically avoid vocals, djembe, rock guitar, and bagpipe.

Vocals tend to clash with the prepared material and the the signals are hard to blend. Vocalists should present a body of work in conjunction with collaboration requests.

Rock Guitar is very loud – it can work, but only with arrangements for the instrument. The synth work is in the same tonal range and thus required special considerations.

Djembe, simply put, NO.

Yes, we had a guest bagpipe player ONCE. The band threatened to walk off stage.