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Jay Parker

Timothy Allan Live @ Earthcore 2007

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Here it is guys and girls in all its glory.

http://www.timothyallan.com/timothy_allan_earthcore_2007.zip

I suggest everyone has a listen to this as its top shelf tunage. :cans:

Thanks to iJed for the link.

TA Live @ Earthcore 2007

1. The Fog

2. Magnesium

3. Polaris

4. Phoenix

5. Evolution

6. Cookin

7. V Formation

8. There's a Place

9. Years Ago

10. Ride

11. Hello Hello

Track 2 by Scien

All other Tracks by Timothy Allan

[email protected]

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Wow! Thank you. I've been itching to hear this. D/L now...

And Tim, not sure if you ever feel inclined to open up threads about yourself ( :P ), but if you see this and you've got a moment, I'd love to get an insight into how you translate your studio stuff to work it into a live environment, the gear you use, and any pics from the day would be a bonus!

Much appreciated if you can shed some light on how you go about things ;)

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^ what he said ;)

I would say look out for bookings after peeps get a hold of this little beauty. My self and a few other people are keen.

That and i just cant get enough of this set. So good.

Prog done live right!!!!

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Wow! That's world class stuff right there! So fluid, so musical. Just sensational. You've just got yourself a new fan.

:clap:

:cans:

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hmmm - does he have a qld agent?

i really want to d'l this, yet will have to wait till my counter resets :(

I want an agent but noone loves me... :(

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Wow! That's world class stuff right there! So fluid, so musical. Just sensational. You've just got yourself a new fan.

:clap:

:cans:

Isn't it just :cans:

It's up there for set of the year contention for me thats for sure.

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Isn't it just :cans:

It's up there for set of the year contention for me thats for sure.

Yeah, he's so lucky to have access to such great records!

<ignorant punter> :(

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Dudes... this is a seriously sweet set.

Well done Tim. Man, i'm looking forward to seeing you do this live now!

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Just found this thread! Thanks for the kudo's guys, glad you liked the set!

Sooo anyways, here's the rundown on the set:

To keep gear lugging low, and to keep sound quality high, this set used a lot less channels than my other live sets.

Mainly, this set is derived from tracks I'd already produced whereas my other live sets consisted of different bits I'd throw together that were in the same key/style etc.

In my previous live set, I had about 16 tracks running live, 6 fx, kick, bass, 4 x drum tracks and 4 x audio channels.

In this one I only had 6 channels total :) This is what enables me to have the big breakdowns and actually some structure and depth. When I'm trying to press 15 mutes at the same time to get a single kick to sound, it's just too much of a pain in the arse.

I basically opened up the projects for all the tracks, and exported the main components of each one as a few 24bit wavs. This let me keep all the master bus/track plugins on and keep the feel of the original tune. In prior sets, I couldn't do this as I'd be stuck with what I had on the master/track channels for the entire set.

So sonically, this one sounds and flows a lot better than my previous sets, but was a less flexible in terms of 'live'-ness.

I had a LP/HP filter, 2 sends and a set of 8 FX per channel that I could flick through using my Remote ZeroSL. I used a bus powered firewire AudioFire2 on a macbook pro directly into the house mixer... and no, I didn't do any editing to the automation to make the mp3 :D So all the bumps and lumps are there to hear.

Thanks again for the mad props... don't forget that most of the tracks are available in pristine mp3 glory on www.beatport.com/artists/timothy_allan :D

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Top stuff Tim, and thanks for the run down of how you do it.

Its stuff like this that makes this site pure awesage!!!!! :cans:

Dont be a stranger now Tim. ;)

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Yep, brilliant Tim. I always love getting an insight into another's workspace. :P

On the topic of muting 15 out of 16 parts...

I'm not 100% on Ableton's bussing capabilities, but can I assume it allows more than the master fader, meaning one could be using those return tracks not just for things like reverbs/delay effects, but as sub-groups for your entire arrangement?

A while ago, I decided to set myself up (in Pro Tools) with 8 stereo Auxiliary Tracks (ie. sub-group / returns / whatever you want to call them) permanently feeding my master fader. Now I may not end up using all of them, but during the composition process, I make decisions to route the various sounds to specific aux tracks (eg. drums, bass, accompaniment sounds, lead sounds, special effects, vocals etc.) so most are filled up.

While not an entirely original concept, any session I complete now corresponds with the 8 x MUTE buttons on the ReMOTE SL in preparation for returning to live performances, and secondly (and more importantly) I'm finding I'm able to produce mixes with better separation and dynamics as I'm treating groups of sounds, and with less hammering of everything on the main output.

I was listening to the Oliver Lieb's "L.S.G - Unreleased Album" recently, and marveling over the way the percussion can sit so tight and controlled, while the moody synth swells float all around unrestrained, and can I only attribute this to working those sub groups (especially compression-wise) so the master bus doesn't have to.

Anyway, I'm not intending to detract from the great work of yours, as yours is equally an inspiration. Again, thanks for divulging your methodology. It's fascinating. ;)

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Ableton has the most flexible bussing capabilities of any DAW out there. I usually set up a few direct busses as well as a handful of send/returns depending on what I'm doing.

With Live I can directly bus all my high end drums to one channel, and then use that channel to send out to a send that has a smashturful compressor on it. This way I get a grouped bus that is also performing parallel compression.

It's an awesome routing system and would be perfect for what you're talking about. Subgrouping for a live set is actually a really good idea, and I had done that with my fx as they really only needed to come thru one channel... the only thing I can see that would be tricky would be firing separate sounds within each aux track.

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Whatever, you're still the progmaster. Nobody, NOBODY can take that away from you.

;)

Break and enter brother. Thanks for the DVD player. ;D

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Ableton has the most flexible bussing capabilities of any DAW out there.

Of any DAW? :P

With Live I can directly bus all my high end drums to one channel, and then use that channel to send out to a send that has a smashturful compressor on it. This way I get a grouped bus that is also performing parallel compression.

Nice one. Does Ableton cope well with parallel-stuff? That is, does different plug-ins running on different tracks, does it happily all meet up at the other end?

Easily could be an LE thing, but Pro Tools LE doesn't provide automatic plug-in compensation, so that one can run into phasing issues if one doesn't run similar/identical plug-ins on each parallel audio path, even if that means running one of the plug-ins in such a way that it's not actually processing anything.

Hey, they don't call LE, 'Limited Edition' for nothing! ;D

It's an awesome routing system and would be perfect for what you're talking about. Subgrouping for a live set is actually a really good idea, and I had done that with my fx as they really only needed to come thru one channel...

Yeah, for the live environment, 8 stereo parts seems to me to be the perfect balance between maintaining an orderly arrangement while allowing for some degree of creative input via our 8 fingers (and two thumbs for balance).

the only thing I can see that would be tricky would be firing separate sounds within each aux track.

Sorry, how do you mean? (And bear in mind, I've not given this too much thought). Can't one go back and mute and unmute the discrete tracks that might be feeding the aux groups.

Cheers . ;)

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Owch E, that stings! Those bastards even took my Lychee martini prize bag to hold all the stuff they stole from me ;)

Holy crap! Are you serious? Man, I'm sorry to hear that. Did you lose anything of real value, I mean other than the prized Lychee bag? Double crap, eh?

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They stole pretty much everything of value two days ago -except- for my music gear and backup drives! My woman came home and heard them in the house... then he/they jumped out the bedroom window!

Yes, I would argue that Live has one of, if not the, most flexible routing system out there. It also copes with parallel compression and PDC quite well.

As for the trigger thing, I meant more running out of buttons then anything. If I have 20 tracks bussed down to 8, I'd need/want 20 buttons to activate the different sounds in each channel, even though I could mute and adjust volume for each sub-group.

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Sorry Speccy mate, but I'd have to agree - the routability of Live turds on just about everything out there excepot for the Logic environment... Even your beloved Too... Tooo... Toooooo. Jeez, I just can't even say it ;)

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Sorry Speccy mate, but I'd have to agree - the routability of Live turds on just about everything out there excepot for the Logic environment... Even your beloved Too... Tooo... Toooooo. Jeez, I just can't even say it :P

;D You can say it! As if I give a shit! Seriously. I'm more interested in the how. And since you've now said, "turds on just about everything out there excepot for the Logic environment", makes me think it ain't the beez neez of routing ecstasy after all. I mean, seriously, how many DAWs are 'out there' to choose from in the first place?

Nah, just interested in learning what it offers.

I already knew my chosen sequencer of choice was limited before I even took it out of the box almost 10 years ago. No hang-ups there. ;)

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Don't cry mate. It's OK. Too*cough*ls heads are just so cute and teasable. And I'd never say it in person. I'm a total woos. ;D

That's a pretty handbag avatar too ;D Oh god I kill me.

Actually I've had people telling me off for my bad jokes all night.... on fiiiiiiire.

But yeah, nah. Abhorage is pretty useful in the bussing departamento. Every track/channel has got a toggleable i/o and monitor section above the fader with a dropdown source select. That source can be ANY other channel emmitting audio. And then more dropdown to run it on to ANY other channel. Pretty cool stuff. The channel can constantly monitor the routings (yes s!) into it, when recording, or not at all. You can totally bork your head with it. Well, I can  :bang: Us qbase guys are fully dark ages.

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But yeah, nah. Abhorage is pretty useful in the bussing departamento. Every track/channel has got a toggleable i/o and monitor section above the fader with a dropdown source select. That source can be ANY other channel emmitting audio. And then more dropdown to run it on to ANY other channel. Pretty cool stuff. The channel can constantly monitor the routings (yes s!) into it, when recording, or not at all. You can totally bork your head with it. Well, I can  :bang: Us qbase guys are fully dark ages.

OK, got you now. So *any* track can feed into *any* other track, without a limit on bus paths. Cool. Whereas, PT allows one to assign any of, say 16 or 32 user-labeled busses to a track output which can then  be called up as the input of any other track. Similar versatility, until one runs out of Limited Edition busses.

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