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1: Three parts from same four-part MIDI song are exported from Reason (left) and Logic (right) to Live (bottom). Although the Live clips all begin at the same position, their data remains properly aligned with the original.
We show you how to share MIDI files with Live.
In this month’s column we’re going to look at how Live MIDI manages MIDI files.
Let’s start with some basics. Computer files with the extension ‘.mid’ or ‘.smf’ let you share MIDI data among your music software programs. Although the MIDI file format goes back several decades and has been revised over the years, the only important distinction for the MIDI files you’ll encounter for sharing MIDI note and controller data is whether the file comprises one or several tracks. Single-track MIDI files are officially called Type 0 files and multitrack files are called Type 1, but I’ll simply refer to them as single and multitrack MIDI files. Because they look the same on your hard drive, you can’t tell the difference until you drag one into Live to see whether you have a single MIDI clip or a handful of them.
A common confusion worth clearing up at the outset is the correlation between MIDI channels and the different tracks in a multitrack MIDI file: there is none. When you import a multitrack MIDI file in a DAW that supports MIDI channel data (Live is not among them), you may well find that each track uses a different MIDI channel, but you may also find that each track uses the same MIDI channel or that some individual tracks use several channels — it all depends on how the MIDI file was created. Live ignores MIDI channels except for real-time MIDI input (when you can elect to receive a single channel or all channels) and real-time MIDI output (when you must select a channel). Therefore, when you import a multitrack MIDI file in Live, you may find that several channels are combined in the same clip with no way for you to identify or separate them in Live. That’s more likely to occur with MIDI files from collaborators using other DAWs; multitrack MIDI files in commercial libraries typically keep separate channels on separate tracks.
Most DAWs can export and import MIDI files. Live’s approach is the simplest: select any MIDI clip from either Arrangement or Session view in a Live Set and choose ‘Export MIDI Clip’ from Live’s File menu (Command-Shift-E /Control-Shift-E). This produces a single-track MIDI file holding the clip’s contents with all events assigned to channel 1. When you have a Live arrangement with multiple MIDI tracks and you want to preserve the relative timing of the clips exported from those tracks, your only choice is to Consolidate the clips on each MIDI track using the same start position and then export them one at a time. If you then import those clips into another Live Set or into any other DAW and align their start positions, they will be in sync. (For sharing with other Live users, it’s much easier to create and save a Live track or a Group holding several tracks.)
Both Logic and Reason export multitrack MIDI files, but they do so in slightly different ways. Like Live, Reason does not use MIDI channels internally, and all exported MIDI data is assigned to channel 1. To export MIDI clips from a Reason Song, first mute all clips that you do not want to export and then choose ‘Export MIDI File’ from Reason’s File menu. Logic does use MIDI channels internally, and all events in exported MIDI files retain their channel assignment. That leaves the possibility, mentioned above, that exporting MIDI files from Logic and importing them into Live will combine events from different channels. To prevent that, use Logic’s ‘Separate By MIDI Channel’ option to split each Region containing multi-channel data into multiple single-channel Regions on separate tracks. To export MIDI data from Logic, select all the MIDI Regions you want to include and then choose ‘Export Selection as MIDI File’ from Logic’s File menu (Command-Option-E).
To import a MIDI file into a Live Set, drag it to Live’s Arrangement or Session view from either Live’s Browser or your computer’s file system. Individual tracks from multitrack MIDI files will appear as individual clips distributed across consecutive Live MIDI tracks as shown in Screen 1 (above). New Live MIDI tracks will be created as needed and empty audio tracks in the import range will be converted to MIDI tracks. Make sure there are no audio tracks holding audio clips within the import range because they will block the MIDI clip that would otherwise be placed there and, in Arrangement view, will also stop the import at that point. You can avoid such conflicts by dropping the imported clips after the last Live track in your Set, thereby creating a new MIDI track for each clip.
One thing to keep in mind when importing multitrack MIDI files into Live’s Arrangement view is that all the clips will start at the same timeline position, even if the original tracks did not. Live adds empty space at the beginning of each imported clip to make that happen, thereby ensuring that all MIDI events retain their relative position. That may seem a little awkward when working in Arrangement view, but it pays off when importing MIDI files in Session view because Scenes holding the imported tracks will preserve the clips’ relative timing. However, the imported clips will have looping enabled and will not necessarily be the same length, so you’ll need to adjust their lengths if you want the clips to loop properly.
2: A multitrack MIDI drum file is sliced into four-bar segments (top). The clips were then copied to Session View to create new drum Scenes (bottom).MIDI drum libraries (as well as MIDI files exported from drum sequencers) often devote a separate track to each kit piece. This is very useful when you want to mix and match kit-piece patterns from several drum tracks or from shorter segments of a long drum track. When you have a single-track MIDI drum file that combines all kit pieces, you can easily split it into individual kit-piece tracks by importing it to a Live track holding a Drum Rack and then right-clicking on each used kit-piece Chain in the Drum Rack’s Chain List (not on the Drum Rack pads) and selecting ‘Extract Chains’ from the drop-down menu that appears. Realistic drum patterns use only a few kit pieces, so extracting their Chains is not as tedious as it might sound.
Session view works well for importing short drum tracks, but with longer tracks it’s easier to first import them into Arrangement view and then use Live’s Loop Brace to select shorter sections and Consolidate (Command-J /Control-J) those sections across all tracks. You can then select the Consolidated clips and drag them to Session view clip slots as shown in Screen 2 (above). From there, either mix and match kit-piece clips manually or use Follow Actions to mix things up at random. In either case, when you hear something you like, use Live’s Capture and Insert Scene feature (Command-Shift-I /Control-Shift-I) to create a new Scene holding the selected clips.
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3: Three imported single-track MIDI files (top) are sliced and edited to capture four-bar drum clips along with two-bar electric piano and bass clips (centre). These clips are then used to create new Scenes in Session view (bottom).Capturing alternative takes — different chord voicings or melodic fragments, for example — is another use for multitrack MIDI files. Commercial libraries often provide them as multitrack MIDI files, and it’s easy to generate them from DAWs that export multitrack MIDI files by moving each take to a different DAW track. When you import a MIDI file containing multiple takes in Live, you’ll want all the takes (all the imported tracks) to wind up on the same Live track. Pressing the computer’s Command/Control key while dragging a multitrack MIDI file into Live accomplishes this; in Arrangement view all the clips will be lined up on the same track, whereas in Session view they will occupy consecutive clip slots on the same track.
Although multitrack MIDI files take some of the work out of capturing individual tracks, takes and kit-pieces, you can do all the same things with single-track files, and it’s often easier. Screen 3 starts with three imported single-track files: a four-kit-piece drum pattern and multiple takes for piano and bass. With a little slicing, consolidating and editing, they are easily converted to a flexible Session view setup for generating Scenes by mixing parts.
Without a doubt, Ableton Live's new Audio to MIDI conversion technology is one of the most hotly anticipated features of their latest version, Live 9. It's rare that such a potentially game-changing feature comes along in the relatively stable world of DAWs, and its debut speaks volumes about Ableton's already strong reputation for thinking (and developing) outside the proverbial box. Boasting three different modes – allowing you to convert audio sources to either Drums, Melody, or Harmony – Live can now extract, in real time, MIDI information from audio files. Yes, you read that right. Let's have a look, shall we?
We'll start by converting an audio drum loop to a MIDI clip. Those familiar with Live might be wondering how this differs from Slicing to MIDI, which similarly results in a Drum Rack on a new MIDI track. However, in this new method, rather than slicing the original audio into Simpler instances on each pad of a Drum Rack (Pic. 1) with a resulting MIDI clip that merely cascades up through the full sequence (Pic. 2), Converting to Drums extracts the audio to a MIDI clip with the kicks, snares, hi-hats and so on placed on corresponding drum pads where they were rhythmically detected to occur, and places this clip on a new MIDI track with a default Drum Rack – Kit 606.
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So how do we make this magic happen? There's a few options available to us, depending on our situation. If we already have the audio drum loop as a clip on an existing Audio Track, we can Control-click (or right-click) the clip itself and select “Convert Drums to New MIDI Track” (Pic. 3) from the context menu that appears; give it a moment and a new MIDI track will appear with the default Drum Rack and resulting MIDI clip. Alternatively, we can drag this audio clip to an empty clip slot on an existing MIDI track and select “Convert Drums to MIDI” from the dialogue that appears (Pic. 4).
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Finally, if your audio source is still in the browser, just Control-click (or right-click) the file directly and select the desired option from the browser context menu. Take a look at the original Audio Clip (Pic. 5) and the resulting MIDI Clip (Pic. 6).. not bad! The original timing is retained, and while some adjustments might be in order, I've gotten some incredibly unusual and complicated rhythm patterns going very quickly using this amazing new feature.
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PRO-TIP: Try recording a beatboxing session and extracting this to Drums; some trial and error may be necessary to ensure Live is differentiating your “kicks” and “snares” properly, but once you get the hang of it, you'll be writing beats with your mouth in no time!
I recorded some wind chimes a few years back that had a very haunting quality. Now I want to convert them to a Melody so I can apply that same haunting note pattern to a different instrument. I can do this by following basically the same steps as converting to Drums: Control-clicking (or right-clicking) the original clip on an audio track or as a sample in the browser and selecting Convert Melody to New MIDI Track from the context menu, or by dragging the clip onto an empty clip slot on an existing MIDI track and choosing Melody from the dialogue that appears. Take a look at the original audio clip (Pic. 7) and the resulting MIDI (Pic. 8). The notes in the resulting MIDI retain their original timing and an expression of detected velocity, and can now be quantized, re-ordered, pitched up or down, adjusted and nudged – and run through Live's flexible MIDI effects. Better still, I can use a completely different instrument to express the original melody (or our modified version of it) with a completely different sound and timbre.
PRO-TIP: Try converting any random audio recording to a Melody MIDI clip – you never know what you might be able to use in there.
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For the sake of example, I've used the same source audio, our wind chimes clip, but this time I've extracted it to Harmony – which you should be comfortable doing using the same methods detailed above for both Drums and Melody, selecting Harmony instead of the other options where it appears. Now you'll notice the resulting MIDI clip (Pic. 9) looks considerably different from our Melody case study, which only took the dominant notes and laid them out in a monophonic melodic interpretation. This time, it's taken the full layers of multiple chimes and expressed them as sustained notes and polyphonic chords.
Pic. 9
We can now, once again, edit this resulting MIDI data however we see fit – deleting unwanted notes, quantizing, moving chords into a more sensible rhythm – and of course run it through whatever MIDI effects, Instruments or Racks we want in order to achieve our desired (and possibly demented) results. For a second example, I've taken a couple bars of a soul record by Lee Fields' “My World Is Empty Without You” (Pic. 10) and converted them to Harmony; the source audio contains bass guitar, organ, congas and guitar – and they're all represented in the resulting MIDI clip (Pic. 11). I can now isolate and manipulate whichever specific parts of this arrangement I want and quickly warp it beyond any recognition of the original source material by completely changing the MIDI note data and the instruments to play it through.
Pic. 10
Pic. 11
PRO-TIP: Try converting 2-4 bars of your favorite non-electronically produced song to MIDI and see where it takes you – edit, tweak, run it through different instruments and more.
Live's Audio to MIDI conversion makes it easier than ever to extract MIDI information from a wide range of sources, opening up a veritable Pandora's box of production potential and further cementing Live's status as the go-to creative platform. Want to take your vocalists' chorus hook and use it for the bass line? Easy – done in a couple clicks. Got a remix assignment with a melody or harmony you love, but using a sound you hate? Convert it to MIDI and use your own sound instead! Whether you want a unique starting point to experiment with or an opportunity to dissect the chords of your favorite obscure jazz record, Audio to MIDI unlocks a mind-boggling world of creative possibilities. In fact, a whole new golden era – and a possible redefinition of “sampling” itself – may very well be upon us.