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4. Drum destruction

1

Another component of the ‘granular sound’ is using extremely small unlooped samples for particle effects like raindrops, crackling, or other tiny tap-like sounds. As with the first walkthrough, you’ll want to start with a complex sample. Even a drum loop will do.

2

With your sample loaded into Simpler – set to Classic mode and Warp off – make sure looping is turned off, then set the Length to between 0.05% and 0.50% to create an extremely short ‘grain’. Since the sample is unlooped, the Loop parameters are grey, but toggling Snap will modify the sound.

3

For instant gratification, the Arpeggiator MIDI Device is very useful, with several parameters that are excellent for manipulating grain samples in real-time. For example, selecting one of the Random types will add chaos, while switching the Rate mode to Free (unsynced) offers speeds up to 10 milliseconds for pitching.

4

Other Arpeggiator parameters can also modify the grain modulation.

Distance sets the range for each arpeggio ‘jump’. 12 semitones delivers the familiar octave behaviour, while 7 semitones transposes the pattern up by a fifth. Steps determines how many times the pattern transposes before starting over.

5

While most of the Audio Effect Devices – and Simpler’s integrated filter – are ideal for manipulating the timbre of the arpeggiated sample, for classic ‘grain clouds’ you’ll want to use Live 10.1’s new Delay effect in unsynced mode with stereo linking off. From there, experiment with the filter and LFO options.

6

Now you have enough devices to warrant creating a full Chain within an Instrument Rack, then applying Macros to parameters like sample Start, sample

Length, one or both Delay times, and the Delay LFO. Arpeggiator functions also benefit from Macro control, especially if the Rate is set to milliseconds.

7

As with the looped grains discussed in the second walkthrough, duplicating and further modifying this Chain one or more times can add real complexity and depth. With this technique, it remains important to differentiate each Chain’s texture with tools like the more specialised Echo device. After that, mixing and panning are key.

8

Finally, if you’re running Live Suite, you’ll want to experiment with adding Max for Live modulation devices like LFO and Envelope, applying them to both Simpler and effect parameters. Because of the chaotic nature of animating tiny audio samples, solo each Chain as you experiment, so you can hear exactly how the modulators affect the sound.