1/23/2024 0 Comments Ableton live 11 only![]() To remedy this I’ll select all the high hats and click the Randomize button in the clip note settings to the left of the note editor. This is mostly due to the high-hats all playing at the same velocity. This clip is now following an essential musical structure but every time around plays slightly different notes – but still feels a bit stale. First, I’ll take all the 16th note high-hats and reduce their chance to 77% so most of them will play most of the time, but some will occasionally drop out.Īdditional kicks at 13% chance. ![]() In these examples I’ll take a very simple 1-bar drum clip and adjust chance settings to make it much less repetitive. In Live 11’s newly revamped MIDI clips, I can now edit the chance any note will play via its probability marker, viewable in the new chance lane, located below the familiar note velocity lane. But how can we harness the element of surprise? Live 11 makes it easier than ever. Pattern prediction is easy to implement: just create clips at standard Western phrasing of 2, 4, or 8 bars and let the loops roll, always editing on those standard intervals. So we also have a contradictory yet complementary synaptic pathway that sparks joy when music surprises us by defying our predictions – but again, only to a degree: if music is nothing but surprise, it registers as more of a jumbled mess than a song. But this only works up to a point if we successfully predict every change, we quickly become bored and distracted. On one hand, our brains love to successfully predict patterns in music: when we expect a change – say verse to chorus or breakdown to drop – and the change happens when we expect it, our brains light up. ![]() Variety is the spice of life – and apparently the spice of music, too: in Daniel Levitin’s New York Times best-selling book, This Is Your Brain On Music, the esteemed neuroscientist outlines thorough research describing two fundamental synaptic reactions that correspond to our enjoyment of music.
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