Ep.3 Mélanie Frisoli | LevelsFM Music Production Podcast - YouTube
[Music] [Music] what is your name and or your alias well my name is melanie friday as you can hear in french i don't have any aliens anymore [Laughter] or too many elias too many aliases in my head and where are you located currently
uh i'm in montreal right now cool love montreal yeah been living there for eight years now that's so awesome are you ready for the lightning round follow what the lightning round i don't know maybe you want to try let's try let's play what is the best song of all time oh god oh what's what's the name of this song uh the first one that comes to my mind is a from a tarantino movie and is you know preacher man son of a preacher man yes the only one that could ever teach me is the son of a son is that uh uh pulp fiction yeah i guess yeah probably nice
great answer why would you say that why would you pick that i don't know it it really is the the only one that came like so quickly and it's funny because it's been a while i haven't listened to it and uh there are so many songs i love so it's pretty hard to pick one but i don't know she just appears is it the catchiness is it the sound is it the melody the rhythm of cool of course that old-school sound like vintage sound i really it's warm it's grainy it's uh uh the groove the the melody i mean the melody is so catchy and it's pretty simple easy to you know and the words for a french girl are pretty easy to to understand as well so um i don't know and i love tarantino so
me too yeah great answer who has the best voice of all time uh it's it's funny because i i i'm not into style music and i don't want people to think i mean to sell music but i guess well well the first one uh who came was a aretha franklin and but but but but like quickly i really tell you what's inside my head right now which is weird but uh areta came and suddenly nina simone was like hey oh do you forget me i was like no no no no no i don't i don't forget you and i would say uh i i um i prefer nina simone songs but uh i could have say respect from marita franklin like the best song of the world but nina simone is like my
she has my heart what is it about nina simone's voice that's so captivating well there's something um which is pretty badass you know in the the in in the character she's playing when she sings it's you can feel you can really feel she's strong and like that nothing can you know touch her or or hurt her and like it's kind of powerful so it's powerful voice and at the same time so sensitive and so um you know there are so many details and it's everything is so at the right place and at the right time even if it's like a bit sloppy or you know it's just
it feels so natural and and powerful i agree i agree with all of those things uh who is your favorite musical group or band of all time well uh it's it's weird because it's only old stuff that came to my mind so it it's it's fun because i i don't even listen to them anymore but i mean the pixies are one of my favorite band of all time because you know i was listening to them since i'm young and i saw them really really late in show i mean i was like it was three years ago for the first time and it was like a big big moment uh so but the the the the basis wasn't here so it wasn't the same but
yeah the best ben right yep great answer i love it what's your favorite pixies album it's the what's his name sir rosa trompont no uh the one with can i can i jump quickly yeah yeah go for it uh i'll i'll tell you a little story about the pixies while you're checking so yeah i went to go see these three bands back in the day i don't know what year it would have been i think 91 i think it was 91 and i went to go see primus was the opening band and i've seen primus five times and i loved primus back in the day and then there were two more bands and i had heard of them and i'd listened to them but i wasn't huge fans of them yet so the second band was all backlit so you could only see their outlines and it was just a light behind
them and all it was was the the shapes of the musicians that was the pixies oh unbelievable and then the band after that in the full middle of all the heroin addiction and their fame was jane's addiction and it just changed my whole life whoa like i i think i was still kind of a rocker then like i was more into heavy metal and grunge was just sort of starting to take over and all these it was even before grunge it was all these like weirdo bands before that might have been 1990. um but after that show i just kind of went back and i looked at my old cd collection and was like this stuff just doesn't cut it anymore you know that was kind of it for me uh did you find the album yeah just do little do little yeah that's a good one that's the one with the monkey gone to heaven i think that's a great one it's pretty weird the names that come because it
doesn't really represent what i am now and what i'm listening to right now and i don't know but just it's the way it comes out and that's the beauty of the lightning round it's not it's not very realistic i'm finding out people are just sort of in this fight or flight stage and it's kind of funny what happens i love it um who would be your dream collaboration well um wow dead or alive doesn't matter doesn't matter i'd love to you know just play a song with just tremor with you just tremor from the clash oh joe strummer cool or i could you know like make a featuring with faced or cat power
you know more actual girls and yeah i love it love feist yeah she's cool and she's canadian shout out feist shout out canada um [Music] laptop or recording studio well i'm 100 left up i know you'd say that i know i'm gonna disappoint you it's not a disappointment a lot of people say i i think i would say that actually yeah i mean maybe like a few years ago if you asked me ask me this i would have answered the studio but i i don't go to studios anymore i mean the studios i'm i'm going to are like studios where i bring my laptop i plug into the interface and i just you know enjoy the the many speakers i have around me but that's the thing
i think that's i think a lot of people feel that way and me included i mean i love the recording studio it's it's that's my place but the laptop the the plugins the the the the the condensed nature of it the fact that it's all right there in front of me it's all i can save it and i can take breaks it's you just can't beat it it's it's unbelievable and the endless possibilities i mean you can stretch your your compress it like you know like really sculpt it like you want studio it's it's it's great uh when you know the studio really well and you can be really creative because there are limitations right which are really cool sometimes you can get lost in your computer because you can do so many things you don't know anymore what you wanted to do right but um
yeah it's just it's difficult to have access to a studio if you're you know i'm i'm some engineer but i'm mixing in the box i'm recording in in different places but not in the studio it's like the last time was a band who called me to record the album and they were like okay we have this shitty room and we want to wake up there i'm like okay let's do this and we we tried some some old-school combination of microphones and you know we would call it live and with a bloom line technique or some stuff really fun where you have to pick the right place for the microphone and just always listening it's it's another another job actually that's great i love blumline technique it's my favorite one it's my favorite stereo miking technique um what's your favorite audio effect like
delay reverb compression eq um i would say eq actually the big family of accused uh i mean it's it's the the the most underrated effects for peop for beginners even intermediate people they're like i don't care about the human i just like cut the the the low end of each sound except bass and and and and kick and it's like pretty basic but all the things you can do with the cues i mean i'm all about sculpting my sound and it's uh it's priceless just like i don't know it's pretty uh nothing nothing to to to to say about it very very much but it's powerful and you have to dig into a
cues to really understand them to make everything sound the way you want it's it's not distortion it's not about delays i love reverb actually but um i'm working a lot about on on space what is space in music and where is it and how you can achieve some uh you know a special polyphony in your sound in a but a human i would say a eq great answer love it what's your favorite plugin like vst or maybe ableton live plugin wow that's tricky can it be a synthetizer or something any plugin okay okay okay
um i have to say i really um it's quite new so my favorite plugin is always changing but actually i really love the hybrid reverb ableton you know released with live 11. um i love it so versa versatile so um so huge and so creative it's it's really up um so yeah i would say i would say that because i i usually i use valid for reverse um and you know it depends but yeah pretty fan of balance but the supermassive reverb i love big reverbs where you can you know the detail is never ending and so i can like just freeze a piece of
that and create drones basically so the thing is that the the freeze option in the hybrid reverb is is pretty fun because you can freeze like it's gonna freeze what's it's reverberating but you can make it still enter the sound and feed your freeze uh and that's a pretty cool option i i haven't seen that i guess on a river but i haven't seen everything in the world and yeah this and the shimmer reverb which i have like a crush because of briannino and that's pretty much it that was not one plugin but you you know yeah hybrid river those are all great um last question in the lightning round which song sounds great well um
which songs sound great what a lot of song no which song one song sounds great uh i i would say uh what's the name well i can see another one but i i i love the sound of the kills you know that band the kills it's like uh ellison alison something and and the guitar player i'm fan of and i'm really bad with names as you can uh see but uh let me check like very very quickly um kills and there are alfa american of english and the guy i loved yet alison mozart and jamie
hintz and i think the song is uh doing it to death to death doing it to death not death um yeah yeah it's pretty uh i mean i i i was i'm still how uh i'm still i'm a bit but i'm i'm still a bit guitar player but this guy is like my ultimate guitar player and plus for this song he lost the one finger so he had to you know you know find a new way of playing and he was saying for this song in particular he couldn't be playing that with five fingers that's really a technique a new technique if you found them and then the yeah sounds good the drums is deep really deep and the guitar is in your face and the
voice it i mean i don't know everything is sounds good for me love it uh what did you think of the lightning round i think it's awesome i could answer like 100 questions like this yeah me too but it's difficult it's difficult to you know like favorite like right now and it's ridiculous i mean we we do that in two days and the answers will be totally different 100 yeah that's that's the beauty of it is to just it's just to see how you react and it's just to get you in the mood to answer questions right now now we got that behind us um seems to work out pretty good so i i want to go back in time and talk about you and where you grew up but just before that before we get into that
if i didn't know you and i do know you and i met you in an elevator and i asked you what you do what would you say well i think it's my it's my biggest fear you know the elevator pitch you can't do that to me it's like i'm like okay what what do i do like i have to explain okay let's go um so what do i do right now so it's pretty up and people like you don't get it but it's i'm a composer and i compose music experimental music for multiple speakers so it means you know the audience it in the dark in the middle of a lot of speakers and you can really experiment uh movements trajectories of the sound
immersion and so yeah i compose music for that kind of setup and i'm yeah that's it now is the mute that's great is the music synced or is it random it's it's uh it's it's a real composition so it means like you compose a music a piece and you can decide where you put those sounds and the thing is the specialization is included for me during the process of composing music so it's like the space is the fifth parameter of music and so i use it like um it's really not the same thing if you uh you know compose in in stereo and then play it on multiple speakers
it's really not the same so so yeah that's what uh i'm doing right now space is the fifth parameter of music right yeah i love that uh what are the other four well pitch uh volume uh timber and length cool that's so great um [Music] i can see why you are hesitant uh at giving that response in an elevator because you'd be waiting at the bottom people be wedging the doors open and you would still be explaining it right i know i know but i i it's a really good exercise but i'm i'm scared of it you are also a teacher and you are also an ableton certified trainer and that's where we met is we both became ableton certified yeah in 2019.
exactly yeah that was that was so fun and challenging and great memory yeah really awesome it's so stressful man it's it was so stressful that was good i still am stressed out from that i think i still i still feel like i haven't completed that yet still scares me yeah um but yeah so many great memories for two days um okay so let's go back in time where were you born i'm born in a town uh called nancy like nancy sinatra and it's the same spelling and it's in france in the north east so close to uh alsace strasbourg between strasbourg and and france which is the champagne of the champagne okay champagne and between the champagne and the white wine
cool that's cool that's where i'm i'm on can you tell us about an early musical memory okay yeah the the i was i was chilling in secret the my father's guitar and i used it to uh fake playing uh on dizzy missy lazy uh beatles and it was pretty rock and roll for me at the time i don't know i was like six or seven and i found that rope in the garage and so i i tied it tight how do you say i put it on the guitar yeah like for a strap like like a strap so i could you know play a play uh stand up but i was jumping on the bed and like i think looking at me in the mirror in in
my my parents bedroom with the sound i i don't know where was where were my parents honestly but they were in the house i mean for sure i didn't i wasn't alone at six or seven in the house but yeah a big sound uh the beatles like the the most uh excited sound sound song of the beatles and me just jumping on the bed with the my father's lucie guitar and you know what happened next the strawberry the guitar broke in two pieces man at the middle and it was um well i don't know if it's well known in canada but in france there's a place with a lot of lootier and uh it's in uh le voge in france and so the guitar came from there and um so
i had a bad day after that were they able to fix it or was it just well you know my father wasn't really like it wasn't a professional guitar player and also i don't i don't think we i don't i don't think we had so uh a lot of money at that time um not now they are rich but that's not true but you know it was like uh maybe he they had like three children i have two brothers and i don't know it didn't take the time to bring it to a proper guy you know just to fix it like properly and instead of that he fixed it himself so he put some glue on a lucha guitar some glue and i don't know man i mean it's this guitar is still at my parents and
the you can see you know it's it's a it's it's not well done so you can really see the glue on the guitar you know it's not even like but it it's it's it's fixed and it's been working within 30 years now cool um that well that is interesting because it must have been sort of an exciting memory for you to be rocking out and air banding with the guitar and then to just have that devastating thing happen in the middle of it yeah i think that's why i i remember it because at the same time so uh powerful like feel the music that way and to believe i was playing it and suddenly just go back to the reality and you just broke a guitar and you're gonna have a really really big argument with your father so that's a lot of stress and memory yeah did you in that moment or soon after
that did you say i want to start playing an instrument or i want to be a rock star or did you have any like ideas like that after that no actually uh no because it's it's somehow uh appeared too difficult to be an artist and and when you're not aware that you can be a professional without being beyonce and so i don't know i was i was more or less like how could i say that we had to with my brother at each month of september choose an instrument and a sport so you know you can have a good balance in life and so i made a lot of sports i was really
into sport when i was young and i i took courses of violin of flutes of piano a little bit and then i think at 13 years old i was like no i think i want to play guitar and then i i i started with a classic classic guitar and and and then my uncle uh came with an amplifier and it was the end of the classical guitar i guess and then it was you know i was 13 14 and it was the there was this grunge thing and and then you know just playing nirvana songs and stuff like this that's so cool and then at that point did you think i want to start writing my own songs or were you happy just playing other
people's songs i've wrote my song like quickly really quickly even if i if i couldn't play uh you know properly guitar i i yeah i read my my songs they weren't great but uh they were mine and i guess yeah because the thing is um the first gig really came early because i was 17. so yeah three years after discovering amplifiers i was on stage playing stuff playing covers of course but also a few uh um a few songs i i wrote cool can you tell us about maybe the first time playing live was it a nightmare it usually is it was a nightmare but a happy nightmare because at the time i don't know i i
so i had this gig which was originally a bet with a friend because she was a a painter kind of we were in high school you know and the deal was okay if you find a place to uh exhibit your show your your picture your paintings uh i come and play to the the opening uh and just i was just saying this like this you know this was really random and i think she was a good painter but maybe that she wasn't going to find an exhibition somewhere and uh and she found it so she called me during the summer i remember and i was like oh man so okay first game um and and then i i i felt of an amazing concept for this show
which was doing no pose between the songs and so i was writing like guitar interlude between songs to link them and all the first set which was like 45 minutes 45 minutes of music non-stop but i was bad at guitar and i was a bad singer as well i was 17 okay and so the this genius idea is as one problem when do the public upload if there is no silence between your song so no nobody uh you know upload during the old set and i was like okay it has to be really really bad because you know nobody looks to be into it and but i i i knew after that that some of the people were listening and
some not but it's it's okay it was a kind of a bar right a cool bar a gay bar actually and yeah but at this show i met a the the the guy i met record with after that for 10 years and i met some great people so it was it was like the real beginning of something in my relationships and also because it was the first gig so and the second one like came maybe one month later and i it wasn't planned i mean everything was a complete randomness so cool i don't know i was in a band for four or five years and we did the same thing we didn't have any pauses between our songs everything just blended into the next song and same thing there was no place for applause but we kind of liked that
and then at the end of the show then it was everybody's chance to applaud and it kind of worked for us but you're right we didn't really think you have to leave room to the public to play its part right we were thinking of ourselves we weren't thinking of the public because the public wants to react too right it's a cool concept for for an album yes no silence between trucks yeah why not right that's where it originally came from was like pink floyd albums and stuff right i didn't know pink floyd when i was 17. he didn't i discovered pink floyd two years ago i mean i i discovered what's his name and i'm really really sorry roger i'm gonna think i'm uh the book oh barrett oh sit bear yeah so i i i read a book on seed barrett and uh is
a little adventure with the pink floyd and then i was reading to see barrett and the early pink floyd things and yeah it was six months ago i i met some i i make some uh obsession about one thing at one time another then i forget names right i'm like yeah me too and song titles i don't know song titles at all yeah of stuff even that i like um how has your musical taste changed over the years and how has it stayed the same like you were into grunge how what what what else sort of informed your your musical influences sort of after that after that gig that's a really really cool question um because yeah i was playing nirvana in a
in a cave with some friends during high school and like we didn't have a mic stand so there was like a rope for the clothes you know to make them dry and so we we at the clipped the microphone and he was hanging in the in the garage like this and and what i did as a musician was um for my first gig because it was impossible for me to sing in english for french people because i clearly have a really bad accent and i'm kind of proud of it but you know i cannot sing in english it's not like you won't believe me anything i could say in the song you won't believe me so i'm like okay i have to sing in french and i'm i'm really fan of literature and poetry and and my favorite singers were french and
they are like great great lyrics and i was thinking i could you know make great songs like them and um so i was writing in french and it was mostly acoustic guitar at the time so not folk more like punk acoustic with french lyrics really in energetic um and like a lot of bad words in songs and a lot of play words but you have to speak french to to get them and they don't really work english and you say oh it's hard to make a a play with words in another language so um so yeah it really evolves my my taste in music which was the question evolved like really really quickly because of the people i had around
and other times i was 17 18 i was pretty naive and i didn't know a lot of things and it suddenly it's like at the first gig i met my you know my big brother and my big sister and so they were like they were old they were like 27 and they were like yeah i'm gonna make you listen to this and this and this and so and so the clash appeared in my life took a big big uh shot in my head it was like really really uh huge discovery from the clash and and and then you know discovered the british punk and crash and all the the pistols and all the things like this so i went back to electric guitar friendly and and then i was playing more and more
with pedals effects and i i used to love you know at the end of the song make a big noise and at the end of the show and be like on my knees on the floor and like just playing with knobs and feedbacks of guitars and was it it wasn't really like french song it's a bit of yeah they were they were french lyrics and and when you discover like uh how you can sculpt and change the sound with your delays your distortion the the first i was pretty fun of fuzz and feedback and delay this at this time well you you you want more knobs you know and and also to you you're ready to listen to more noisier music or
so yeah pgrv and then i don't know it was really logical for me to uh [Music] i i think the you can really educate your ears and so the more you listen to music you know the more you can go deeper in the more the more obscure style of music or things like this so your your ears are ready for further exploration as well but it it takes time you cannot just like wake up a morning and say okay i'm gonna listen to some japanese noise and you know and and i couldn't appreciate this and uh but uh but yeah yeah it was long and uh and then i wanted to uh i went to a lot of studios to become to record my records my albums and
that there was a bit of frustration each time i don't know if because i'm i was a girl i'm still i'm still a girl by the way but there was something between some engineers and you know uh one album uh we were recording this in a big studio in paris it was really really great and the guy the sound guy was telling me like well you should take off your effects on your guitar because you know we will it's it's i know it's cliche but it's true because we'll take care of them at the mix so that's a killing sentence you know but i was i was 25 at the time more or less uh and it was like 50 and i was like okay okay sure but you know you i i had to play my part without my effects it sounds weird and you know what it never put
my effects on my guitar so it's like a dry guitar weird so that to say uh i wanted to uh to become a sun engineer uh i became uh i i began to you know play with software i and uh experiment in studio but i you know i couldn't understand really what people were doing in the studio so i wanted to demystify the all the process so and that's when i moved to montreal actually so eight years ago i met the [Music] sun engineer uh what's the name um audio engineer school so you know one year program really fast really intense but at least at the end you know i could produce my own song and so my effects i want to record them or not but it's my choice
right yeah that's a weird i mean on one hand i understand what his theory was let's get a direct sound to dry sound and then we can always change and control the effects later but he's thinking of effects like a delay and reverb that you would add to somebody's vocal that didn't have delay and reverb on it and go oh that sounds cooler your effects were part of the parts they were part of the sound they you'd never heard the parts without the effects on them before that would be like taking edge's uh delay off his guitar it would sound weird and and after after the school i met i mean i was like okay just plug my guitar in a gi engine and then you you take the through and you send it to the the amp and so you you would have both yeah and it's the perfect world exactly so uh yeah i'm a bit angry still
angry again batman okay but isn't that the whole reason you got into production though was to sort of fix that if that's the case then i think it's kind of good that that happened yeah no what i mean like if you if you had an amazing experience in that studio you might have still been like oh that's not something i do that's just that that's something that guy did but because because he it went bad you were like i'm going to fix this i'm going to do it myself yeah but the thing is if the album uh were great and sound well i'd be rich and famous now and i could just uh you know call the best sound engineer in the world and just not do it by myself no i'm just kidding but yes of course i i i thank all the sexist men
i i met because it's because of them i'm working so hard in my in in my area right that's funny i i honestly think i mean i'm sure there's there's some sexism going on there but i think he would have said the same thing to a guy he would have been like i'll do all the effects later and then well i'm i'm not sure because you know we never know but um and i i think it took me for an amateur you know we we weren't like well known we were in the big studio where they were they were all the the stars in the in france regarding gansburg recorded there a lot of you know well-known artists um well i i i met um i ran into faced at the studio it was recording in the studio downstairs with gonzalez
so it was nice you know like that kind of of people and were that we we weren't playing in the same league like okay so maybe the guy was like okay then they're young they're a bit bad and you know right you don't want to have my my shitty effect you know i i don't have enough uh i don't remember what i was using but maybe it was really bad you know it was right the whole time but but this album is the worst album i made for the sound it's really i can't listen to it anymore and right after it was released i was like completely ashamed by the sound of the the album and i think it was the most expensive album we made like we had this new label and he was in paris and and then you know i mean this studio is just
amazing [Music] anyway it's in it's a studio in paris was everybody smoking cigarettes in that studio i just kind of imagined that would be the case oh yeah and the kind of studio that you know you smoke between the the i was singing so the the between the takes between texas and and a guy is just here to bring me something to eat something to a drink and i you know i was like okay nobody i can just you know bring my own beers but they were really nice and at the first time and i'm still uh impressed at the first time i met a guy the so there were uh three or four people from the studio working with us for the sessions and so one guy for the training but also you know um cleaning the the recording room and one guy on pro tools
and he was working so fast on produce so okay i was just beginning you know to work on i don't know i think i i had a crack of nuendo at that time and i i saw the guy like magical and on the the his keyboard with the mouse and all about shortcuts and really so fast because after i i you know i learned pro tools and i uh i made some session as a recording engineer with produce but i was never able to go as fast but maybe that's why i'm fan of shortcuts right now that's so awesome um okay so that's how you sort of got into music production from being an artist and now you're in the studio and you're recording all this stuff um i've got a sort of abstract question for
you and answer it however you want what is music production well i think it's a lot of things because there is um as much music produce production than you know and producers almost and uh you know when when when we speak about music production right now it's i don't know i th the first thing that comes to mind is like a young guy you know mid-twenties doing some trap that's weird that's that's what comes to my mind and but music production is the only thing is to produce some music on i mean recording music and i don't think i produce music i compose
and i i produce sounds and i put sounds together like edgar varese was like an architect of sounds putting sounds together and then you have a new material and you can sculpt it again and uh stretch it again and and arrange it with another sound and that's how i produce music but i would say compose compose music and it it's the thing is i mix my music and i you know like i do all the the process from the recording to the mixing but i don't know i i don't feel like i am a music producer i'm a music composer who produce our own music kind of
are you a sound designer i'm uh yep i can't say that i would say so too um when did you first hear about or get introduced to ableton live uh well it was eight years ago during the the school i met here in montreal and it was just like maybe a really short introduction to ableton ableton wasn't that huge uh at the time i guess but it was like becoming yes on the rise yeah oh yeah but on the rise like this right and i don't know we were you know professors um were teaching us what's the name reason yeah reason and so we had cubase
for music production uh with reason and after it was all about you know pro tools produce all the year uh but uh yeah it was really uh frustrating because i knew that ableton was becoming huge but it was like the school was late a bit right and so i uh in part of my uh my school i went to another school who gave ableton lessons so i would be able to master this software because everybody was talking about it and i didn't know how it worked and it took me two months to just understand the decision view right but it's pretty normal but my teacher was was not good i mean i was pretty slow and you know not that good but
at least i had the basics and after that i was like i i became a fan after two months because you know when i get what was the session view about right i was like okay then okay i'm not gonna open another software anymore well pro tools i had to but you based like you know but i'm not against the old the all the software because i think everything every software has its own stuff that are perfect and but for me was really i don't know i was inspired by by live and so yeah and quickly i was making an album at the time so i i made a few songs produced was my first production really production and uh so yeah of instrumental
songs i met them in ableton and then i so i was like watching tutorials reading the manual i was like you know digging really really strong and then i was graduate i graduated from school and a few months later i went back so i i took a meeting and they were scared because they thought i had something bad to tell them and i just like give give them my cv my curriculum my uh i don't know cv yeah okay and told them you should really really take me to give some ableton courses in the program because it's not normal you're still on cubase any reason i'm sorry and and they did cool so i i was teacher really really quick
i didn't even know everything on the on the software and uh but i've i've learned a lot like this by touching best way to learn is to start teaching yeah to break your teeth on the on questions from students right and you're totally right about the session view i think a lot of people just never understand it and i think it's really important to just understand it conceptually and then like just like for you like it clicked after two months and for me i just didn't get it and then and then somebody just said like one sentence to me i you know it was like the second or the third ableton class able to live class i had and um and what was this sentence so my buddy gisto was was was teaching us and he was showing us the clips in the session view
sort of like here you can put you know you've got all these boxes these for clips and he goes you could put anything in there you could put a whole song in there if you wanted to and my brain just instantly got session view i was like i could put a kick drum in there i could put a drum loop in there i could put somebody else's drum loop in there or my drum loop in there i could put a midi loop in there i could put a whole song in there and everything will be going at the same tempo and that was it for me i just got it i just went this is a matrix of possibilities for like i almost went into more of a dj mode like i am now able to just fire off this matrix of possibilities and now when i teach ableton live i i sort of
i explain to people if you've never if you've used another daw before you're going to love arrangement view and that's great and i get it and you'll love arrangement view but i'm going to show you session view and i'm going to show it to you first because if i show you arrangement view first you'll be way too scared of session view so i just dive right into session view and i just show them like so i sort of try to show them what blew my mind really quickly and get them doing stuff really quickly and then i go okay now let's move over to arrangement view which is more the linear thought left to right which i think most people even if you haven't used the daw before it can relate to right but it's almost like driving a car i want to teach them the hard way first and then show them oh there's an automatic version of this car too where you just leave it in one gear well i'm pretty much like you i mean
there's like the this course we're giving in montreal it's like in in four courses so and three levels so three by four courses so 12 courses at the end and i think during the the three first courses i'm only in session review i i i speak a little bit of argument view it exists don't worry but we'll do it later and and until they are really re-hooked and by the session view that's why i work because i think and it's powerful to use both really you know jump from one to another and and vice versa i mean it's it's it's the importance in the different things than other daws don't have i agree and uh
i think this is true with you know with any software everybody's going to use it in a different way but i think if you show me 100 ableton live users they will all use it differently because there's so many possibilities yeah we saw that also at the certification like most definitely able to ninjas and like five ways of using live different ways 100 but most of the the beginners or intermediate they're like stuck in the arrangement view and they they won't even you know compose insufficient view once in their life and i think it's a it's it's a bummer so i i have two thoughts on that one i agree i think it's a bummer because you're missing out on like you're not using half or even more of this of this of the possibilities however i understand how people would see
arrangement view and never want to look back because it you know some people just think that way some people start at bar one beat one and build their song until the end and it's great i mean it's perfect for that it's so it's so i do i do that as well when i work on um electro acoustic music without tempo and stuff i don't obviously play with with loops and there's no bars and they are super nice new feature in live 11 you can take off the grid so it's a blank almost blank but uh page and and so that's great for me i work in management view like big time but i can how could i put that um i can like uh work on my material like when i when i build my um my sounds when i make some sound design
as we said uh i i do it in in session view try things i've uh i mean like one year and two or three two years ago i had this discovery in life and i was always i was pretty much already good with it and i was like okay in fact i can be a punk and work really fast with live with session view and really uh and i love sometimes it's it requires like a special mood and this mode is pretty rare when i'm a bit uh i don't know i feel a bit punk you know i need things to go fast and i want to blast my ears fast so i can i just like you know take the sample things uh roll roll down and close my eyes and like
stop any anywhere just like blindly blindly drag and drop sounds just play with them while they're playing so i'm like like whopping them while it's playing and i add stuff and at most of the time it works super great but they are like random samples all loops i took and just playing like like a punk and it's like making some free jazz with live right and i like this direct way to to to work sometimes right i agree that's great um so as ableton live certified trainers we're not really allowed to disclose too much about the process we're under an nda to
not tell people you know what happens during the certification which makes it so much cooler because it's like why aren't you allowed to talk about it um as soon as i found that out it was like okay i want to become an ableton live certified trainer just because of that they're good it's great built it builds uh builds tension builds mystery but can you tell us without revealing anything you can't reveal can you tell us about your process of becoming of becoming able to certify trainer from being a user like how did you go from a user to a trainer yeah it was like um i think a sort of dream you know but that kind of dream that it's cool to dream of but you know it's never going to happen and but i was teaching which was a good point because i had a tiny experience teaching life
and well a few a few years i had some private students as well um and you know i used to go on the website on the ableton website to check if there's any event happening because i knew you know you you had to go to a certification event and i was like okay because i'm a french girl living in canada means i could maybe apply for the french certification and i'm ready to you know take a plane more or less whenever just for for this purpose and but i'm i mean honestly the the the time i wasn't even looking at anymore and i i received an email because i subscribed like five years ago to the mailing list to you know be able to know when is in
the the next certification event in your country which is canada and uh and and so i i saw that and i was like okay okay what should i do and i i you have all the process online it's not a secret you have to you know uh make several documents it's a bit it's a big um a big thing i mean you know it's a few documents not a big deal but you know like make a video and because it was in canada i had to do it in english and i was like okay let's do it in english and so i explained the sampler because i i think was a good idea to have a 20 minutes video on all the sampler explained um and my my thing was look you can you can just drop any sound in some player and you can have something cool so i remember like i i think i i dropped
the ugliest sound in the world which was like a voice not even well recorded that sound that tom did really wrong i mean and at the end i had like this super sound like you couldn't even tell it was like this this sample before and uh and and yes i had the first round that i passed well obviously i passed them all because i'm certified right now now but the i couldn't believe like i was going to you know pass the first one and uh the second one i i which is the one that leads to the science fiction event um i was sure i i wasn't taken at that time like okay you know what it was really cool to go that far and uh
and then i i remember but i will remember that i think a long time i was mixing uh for the first time in quadraphonic and i loved it and i was working on the on the main computer and i had my laptop on the side with my emails and i was working and i i saw an email popping popping up and it was like ableton certification team and i was like oh they are nice they are telling me i'm not you know on the next like the girl who was super confident so i'm like okay that's super nice to tell me i'm not taken for the what i'm i passed so so i was i couldn't stay sit down i had to stand up and i was walking in the in this in the tiny studio like back and forth back and forth uh call my girlfriend uh i was like
so excited to be in the last uh you know to go to the event actually right and uh and and and life is a bit different after the certification i have to to admit that it changed um it changed things for a girl as well for women in this industry because it's a kind of you know a certification and so abelton decided you were good enough to train people on the software and because i had this feeling that as a woman teaching to a lot of men sometimes they were like you know trying to to show to the entire class i was bad you know there was that testing all the time that you don't know everything because as a woman i have to know everything i saw other guy men teaching and they didn't know everything
it was correct it's completely correct to to not know everything you can't know everything you can't know everything but i felt sometimes you know i was tested about my competence my own so i felt a complete different difference as soon as i was satisfied like men in the class they are not testing me out at all not at all it's like the only thing i'm yeah well no it depends but not for farthest it's really huge for me it changes a whole thing um and and i feel a bit more confident as well that's cool and so that i think that helped me in my uh you know mental process to uh to to tell me wow it's uh you can dream of something and some sometimes it
happens for real yeah so that's that's cool and all the things that brings and the i don't know it's uh the the the people i can help on ableton on their live shows and on the production and on a certain idea of uh i mean i i feel like i can more um transmit my philosophy of music and it's as important almost as the software teaching it's it's it's like a whole whole thing yeah and that's really good i love sharing you know my experience and how i see sound and music and right to go a bit further like to just oh turn this knob and it's gonna do that right
yeah that's great it's a it's a it's a whole concept of how you see music how you approach music your your belief system around music and your methods around music for sure um i felt the same way when when my experience with becoming a a certified trainer two was the same i going through the rounds i was like oh i'm just happy to get by round one that was you know what a what a great thing and um i i remember i i went from thinking i would love to like my it was my 10-year plan to become an ableton certified trainer i decided in 2019 at the beginning of 2019 i was like i want to be an ableton certified trainer in in 10 years that's my goal and within 11 months i was an ableton certified tran and i was just like how did that even happen like even now when i think back to it how did it happen it just seemed like
the event was in the future and now i even i still feel like it's in the future like because it's like no their events are so rare i mean it was the second time in canada right and the first one was like or how many years before like eight years long time yeah yeah so it's so you cannot know you can't know when it's gonna happen it's a complete surprise for me as well it was like but it was like three or four years i was you know like looking right to see what was happening i was seeing hong kong japan i was like oh it's always uh in asia and in india and i mean that's cool and uh i have no problem with that of course but i was like when do they come to canada and i thought even once he was in united states come on just we are neighbors like come on
and the the other great thing of course was we were just forced into the room with these strangers that now you know we all feel like family like not only the the people that became certified but that the trainers themselves there's like you know eight of us or whatever it was total yeah and uh we're just bonded with those people forever right like two days you guys are luckier because you had some certified trainers in british columbia before we are the first one with lp here so so that's great because we are working together so that's cool because we are only two in quebec and in and in montreal and uh and yes i mean uh i it's it's true i mean i feel i feel good when i hang with you guys you know yeah and last time we met the the anniversary our first anniversary
by the way the second is soon so yeah let's meet and uh yeah yeah it was so i don't know how it can happen because you can you can you know spend a few days with people and you don't create bounds right like those i know like i can i can be in vancouver and i have a big problem somewhere and just call fooch or kevin and say hey guys uh i'm here and i have a problem yeah what's going on and and you can do the same if you show in montreal i mean you can even come in montreal and we will hang out uh around and yeah i i think it's i think it's trauma i think it's like we went to war together right because we you know it can't really reveal what went on in that room but it was traumatizing like it was it was scary and i wasn't you know i was 49 at that time or 4 48 at that time
and uh i wasn't used to being scared my scared days you're not scared when you're in your 40s right yeah you just you don't even have nightmares right yeah um so i that feeling of being being forced into this crazy warlike situation with all these people we're uh yeah we're like a combat troop yeah and it's something you you you you cannot forget like i can't forget it like almost each minute of all the thing yeah yeah the music i was you know i was renting a place like really next to the to the the place where we we are meeting and i remember like all the morning like listening to loud music in my headphone this one i guess or not the one you have and and like a really uh powerful song a kind of a feminist song i have to admit but you know
i was it was the mood i needed to you know go through the day right and it kind of worked that's crazy so awesome okay i have a i have a guest question from tamara edelman she said when you start your podcast i want you to ask your guests this question so it's a two-parter uh what has been your biggest career high and your biggest career challenge so far well the biggest high was um actually when i uh it was the the album after the one we we talked about and uh so the the failed album and i was really uh a bit lost because the album of course didn't really work i mean we sold a bit of them but
you know was not huge and but i had steal the contract with my my label so it means i could make another one and i was a bit lost i fired my musician because i wasn't we weren't is it in the same music mode they weren't too jazzed i don't even know why i was playing with jasmine uh they were cool and they played like amazingly well but i needed like some raw sound and like some deep drums and i was like okay so i started to you know make some demos on logic i was on logic at the time and um yeah i couldn't make an album like this obviously was demos and and then i saw this show and i saw the drummer and i was like okay it's this drummer on my album or there
is no drums on my album and the my friend or my roommate i was with at the time at the show so it was a gig of gc events was a girl from los angeles she she made a band called the vanishing band of the 90s and and the guy playing drums was toby damien to be damien played with iggy pop the residence and a lot of big shots you know um okay so i was like well we had my my space at the time so i wrote imam on my space i didn't have the the courage to to talk to him after the show so i was like okay let's get drunk and forget about it but the the next day i was like okay no definitely this drum and this drummer they're like the sound
i need on my album so i contacted him on on my space and he answered and at the time i was kind of touring in united states and we almost met in in the us but we didn't met but he was living in berlin at the time and as i said i was living in the northeast of france so it's like you know seven hours driving because there's no limitation on the german highways also all right so you can do it in six years six hours and so yes we met in in berlin was the 2nd of january and it's it's one of the highest thing in my career to reach a guy like him but that's not it it means this guy i wanted him to produce the album and to be the drummer which he accepted well we had a budget as well with the the label but the thing is that guy doesn't come
alone he comes with all his friends and all his friends meet kitt congo from the us came which is who was the guitar player of the gun club of nick cave uh he played a forget one thing well the crumbs you played with the crabs so kid congo came for the project and there are three guys from the calixico band uh and then i don't know the guy who the the guitar player of that song 99 change loof balloon you know right yeah yeah no it's not nina again it's what's the name of the girl nina right i don't think it's nina you think you think of nina again not nina nina yeah yeah n-e-n-n-a
yes this guy came to play piano in a song and we had i don't know we're just partying one night so i had a i had a flat in berlin at that time and oh yeah the sound some engineers from [Music] yeah this guy and the guy uh who mixed the album uh he used to mix for any linux mano negra big big bands and stuff and so uh i arrived in berlin the second of january and by the fifth of january we were all i mean not kid congo who still was in the in the us but i had all the team for the album around me like all those talented guys and i i haven't expected that
i was expecting uh he could say yes to produce the album but i have i haven't thought about the fact that a talented guys doesn't come alone but have some friends who are most of the time talented as well so so yeah it was it was huge for me when i when i left berlin i was like in a complete dream like walking uh above the ground so cool that's really really crazy um this and uh in the challenging part was after the the what was a lot of challenging times um the to maybe to stop my career at some point to make the the decision i was going to live in montreal and i want i was going back to school um
at you know 33 or 34 years old and i was you know like abandoning a whole part of my life which was 17 years on the road playing gigs and recording things so that was and at the same time was a bit liberating because i wasn't with the same label and things weren't that good and i somehow i i i felt like it was the end a bit of like seven years i will be tired and the last album which which is my best by the way which i love because i produced finally some not all the things but it's a double album and it's 22 songs i think and they are they are instrumental songs which is also for me the beginning of something
else because now i just compose instrumental sounds right so i i think i um i had to recognize that i didn't want to sing anymore i was i i wasn't a singer anymore i didn't believe in me as a singer anymore and i i i think the the my last gig uh we i met like two goodbye gigs and the last one was in paris and i i know i was playing you know some instrumental songs but it was unusual because i was a singer so people expected me to sing on all songs and suddenly you had like weird songs with a you know a lot of knobs turning and you know stuff like this and uh two two people after the show told me
that they could see that i prefer turning knobs that singing i was like okay so i was right on what i was doing so i went back to montreal after the show kind of never looked back sometimes i'm a bit nostalgic you know but uh it's so uh i mean i i began the the programming at the faculty of music of montreal university which is digital music i met the bachelor in digital music after the the other school and then i'm finishing the master's degree now and still not finished with with with the the studying so i love where i am now but it was challenging to change um
[Music] this life was really uh you know just the fact to live at the same place all the time you know uh i had no house during two years when i was on on the road i was always like uh it was pretty pretty different but also a beautiful deal youth my 20s were amazing it's too short yeah that's great great answer i love it like long answer but it was great super descriptive i i know what you mean you have so much invested in this career and your a lot of your identity is based around your career and then you realize you're not going to do that anymore and it's uh yeah there's a lot of feeling around that right and the look the look of from other people chained as well because you know when you're i was not a
rock star you know just like i was not famous like uh like beyonce i love taking beyonce as an example all the time but i had my little you know crowd following me and and you know you you you feel important and uh and and then it was great because i um during the the school at the audio engineering school i i met the technician for stage sometimes and i had like a musician talking to me you know and i was like oh i hope i wasn't like this you know i mean it it had to happen sometimes because you're on the road you're tired you're in bad mood you had bad news but well it was fun to know the other side this is shadow parts and and at the same time challenging a bit just to shut your mouth and keep on working on your cable
right that's awesome um when you produce music what's your favorite part when you write songs what's your favorite part beginning or finishing starting a song or finishing a song well of course as everybody produce music i have like a complete hard disk full of beginnings but i tend to after one year if i haven't done anything i asked for them i'm like okay no no no kidding anymore uh well well why do i prefer i prefer um the the the part and whenever it's happening at the beginning at the end but you know the part where things are just at the right place at the right moment
and you're like that's how i wanted it to sound and and you can move to something else yeah but when you're really saying listen to it again you're like each time you're like this part this these five seconds they really they do have something you know this feeling so that's the part i live for that for the little uh magic happening it can be at the beginning could be at the end i mean i love and hate finishing uh something because i have to begin something else and so it's it it's like you know that in one year you're gonna hate what you did a year ago anyway so i don't i don't know if i like finishing things but i like i like move forward for sure though so um [Music]
yeah i love it i love that um let's yeah me too let's get on to the fast track assignment so this is where you're going to explain something that you do well and then give us a little technique or method or process so that we can practice doing that thing yeah i just noticed a few um weeks ago that i have something i was making all the time it was making all my sounds with one sound and sometimes with no sound it means i i made a full track like with a a silence recording cool a digital silence not like a silence in a room where you can you have background noise no just a digital basically no microphone played into the interface
and so i i love taking one sound and just like uh taking it to i don't know like transform and transform until it's completely something else and also what i love is is just the music itself which is i think most of it's based on theme and variation so the thing is you can really go really far with just one drum loop if you play with audio loops and maybe sometimes you can run into like a beautiful drum loop but it's all that you have for your song but it's it kind of doesn't work because you cannot make us a whole song with the same audio loop repeating the
same thing especially when it's a two-bar drum loop i mean after like one verse and maybe one chorus it's like okay yeah we get it and um the thing we have to think when we produce music on the computer is to humanize it a bit and humanize things means variation all the time and a great way to achieve that with as a simple way in life with a drum loop is to use the [Music] the the the automation and envelopes and to unlinked them from their original length so you can have like endless variation of the same thing and the one i wanted to show today but the sound doesn't work on in live right now it was um i'm a really huge fan of all
not all but a few algorith algorithms of warp so for this one i i would use beats uh i love trying you know uh multiply part two divide per two two up just another beat another rhythm another speed in fact and and and then uh yeah you have like you can automate a sample of sets so it means you can a bit uh reorganize the time the the events over the time so that's a great one to de-link i don't know if i'm clear but you know what i mean unlink the envelope of the sample of sets and try random things take the pen try random values and [Music] just record recent resample
and then you will have endless choices of variation of the very first drum loop so no uh boring things no boring song anymore right and and you can have fun i mean this is just one automation but you can just add transposition little transportation unlink the envelope as well plus the sample of set you can you can already have crazy things going and and then or you can automate i don't know anything you can add some rocks at some effects and make things move that's uh the the movement in electronic music in music made with a computer is something like an obsession for me like always think about
even if it's in the detail because at the end it's how you recognize a really good music producer it's it's not to use the difference that's just a ton of little details but when you add all the details of an abandoned that makes that huge difference and making some tiny variation even if we we're not able to tell you know i mean even if the listeners are are not like wow have you heard how the the hyatts move all the time no nobody is gonna say that okay unless there is a critical music critical listening course in a school you know and if you're lucky to be in the the the songs they they they listen to but nobody's gonna say that but it it affects the brain and the way you listen to music
so our brand need needs movement it's things to not getting bored and that's how you keep your your listener attention so movement tiny variation that's great the same the same way that you know when you look at a good drummer you can like stare at him because you don't know what is gonna do the next second it's like always like little things and it's especially true with drums because there are a lot of instruments in a drum and and because they they they are making variation all the time just you know bring the chorus like go back to i mean a good runner so [Music] yeah velocity play with the grid uh that's great
can you give us the five dimensions of sound again or parameters five parameters of of what sound so i have the frequency the pitch uh the the amplitude the timber the length and the space it's great well it's true when you you work on sound specialization but you basically if you have more than one speaker you can just already make some trajectory stuff but the space is also the [Music] the deep deepness depth yeah depth thank you so even with with one speaker playing with psychoacoustic things and reverb or delay to create this depth you can you can play with
space with almost yeah with one speaker that's awesome um i could see how you could attach the envelopes to those things too and have subtle variations in those five parameters to make excitement from not only from uh from a performance aspect but also from a sonic aspect you could yeah i was listening to a disk and you know what i don't remember the name uh like electronic music but with a bit for the bits and suddenly the hyatt like a one bar it was normal okay and then nothing really magic happened but the bar after the hyatt is in a huge reverb and then go back normal but all the bar like over all two bars it's not like just one ayat you know and i was like yeah of course i mean
everything is is possible as soon as you go for it you know it's right it was so obvious in the song that it was at the right place at the right moment but i was so surprised and i was like whoa what is this guy doing and like that's genius little epiphany you can have all alone with your headphones right no drugs no drugs don't need them music is the drug yeah okay what are you currently obsessed with space space yeah well well i um actually to be more precise is the link between time and space because the thing is i was um well long a long story short
i was working on a on um on a work on a piece of music and it was octophonic so eight speakers around the listener basic uh you know circle configuration and a pandemic arrive i have to switch to stereo because i have no access i have a quadrophonic here but it's not really a studio i have my my main speakers here which are not the same that besides it's like a bit shitty and so no access to the octophonic studio so i went back to my place decided okay it's gonna be stereo finally this song won a contest electro acoustic contest in canada super nice so i have the right to play in the biggest festival in montreal of electro acoustic music in two weeks or the 14th of october but i don't know if you can keep the date because i don't know
the podcast the podcast is not live so we don't care anyway anyhow i had to risk specialize re-specialize this sound and i've decided okay so now i have access to a dom of speaker do we say a dome like an igloo [Music] an array half a sphere okay okay okay okay so it's a complete round yeah you could say dom of speakers yeah speaker though and so i responsibly specialize this sound on 32 speakers and two or four four sets okay start to work and so the song is like 12 minutes and after i made the specialization
again it's like 13 minutes okay i haven't had some material i just added silences almost one minute of silence more because thus the time is changing depending the the the space around but that's the thing about some metaphysic books to try to understand what's going on in there and so yeah that's my obsession right now and the fact also to you know just trying starting a phd in in january so you know starting to to be in the mood of research and creation and research and so back and forth between my books and the studios and trying to to
understand more about space and and and i and i think it's it's a great condition to to to listen to music as well the fact to be surrounded by speakers it's like or or daily situation or listening you know is in in 3d so why don't we do that in in venues yeah because complicated a bit and blah blah but the thing is also i'm i'm trying to create my own max devices to specialize the sound and when i do them i swear i think you can use it even if you make some electronic music uh in some you know venues or clubs just like add two or four speakers to the system and you you're gonna create like
something so much deeper and funnier for people especially those who don't take drugs because they will have more fun and and those who take drugs it's gonna be like an explosion but yeah i think i think it needs to be more popular and i i know it's becoming more and more you know with the vr and uh and and things like this a lot of people i i hear people talking about specialization a lot but if the the more popular music would use it would definitely like be because why do we listen to music in stereo it's it's kind of arbitrary why well because of two years i guess but it doesn't it doesn't pick up the same as yeah but why
why not four yeah okay too too too much gear it's too much gear i think yeah yeah but i i mean you know if people were used to it and and it was like this at the beginning right i was like dude what little things to to to think about but yes two two ears that's not uh that's not bad like a headphone just stereo and maybe it was easy to you know have the same signal and the binaural is not completely convincing at the moment as well so [Music] that's coming it's coming it's getting better it's a step in the right direction for sure yeah um speaking of plugins and that type of stuff you made a a device an effects device for our listeners didn't you and
it's going to be yeah for the levels fm uh listeners uh yes i met a i'm a bit of obsessed with drums actually as well as space but i'm also obsessed with feminism and i'm obsessed with a lot of things okay with the italian italian cooking as well but drums and i'm obsessed with transforming sounds in a way you couldn't imagine so yeah i made a um i can't share my screen actually because i have it on the [Music] and i also made like um a nice pdf so that's the the the the rack so it's called nivo naivo other i would just say that in a in english i would say nevo nevo so that's the french
translation for levels but not the same spelling but i think it's it's beautiful like it's just n-i-v-o and so you need ableton 11 suites because you need max for life because you have some max 5 devices inside um and and yeah i had fun to design this and it's pretty punk so it's pretty punk you can i can and i i did some some uh i mean i've changed some things since you had it uh a bit like tiny tweaking of a of things of mapping but uh yeah it can just like destroy sound uh or decimate it which is quite different um and the beasty knob makes it sound like intergalactic planetary why kind of a bit and yeah you can make yours it's it's really a large so it can be used in many
many um ways uh the thing is uh you can like make a drone a drone from your drums you can you can just choose that to have a dirtier sound or bigger sound you can you know have fun with beastie as well or you can create some fire uh cracks you know with a i mean down if you put it like to the maximum it's gonna be like a fire uh a fire camp some somewhere uh so it's pretty you can do a lot of things with those 12 nodes and i made like 10 or 11 presets here so thanks to the new variations of option in live 11 i'm pretty fan of live 119 i guess the the macro things changed my life
just this and i'm not speaking about the company right so yeah i'm just gonna stop sharing you saw it and it's free for for your listeners and then thank you so much that's amazing i'll i'll put a link uh somewhere in the description i guess or uh just on the levels fm page somewhere i'll try to make it obvious and permalink it but it'll definitely be uh linked on this episode so let's just wind it down thank you again so much that's so awesome um let's just wind it down and i'll ask you just one more question and then i'll i'll get sort of we'll find out where people can find out more about you but what would be your um advice to people that want to get started in music production
well um i would say wow nice that's a good idea i guess i would say pick the the the best software uh i'm not saying what to buy here um and then i i would advise to be adventurous can we say that and not be afraid of doing things even if you don't know everything and be curious work hard work late work on the weekends and you know it's a patient so it's not easy to sometimes you know have time to do some something else um
and and yeah be strong and you're gonna be rejected and it's part of the game and you're gonna be accepted and i hope by by good people and and it's it's a it's a it's a great way and i think it's uh [Music] it's it's worth it i think so too yeah awesome thanks so much mel uh where can our listeners find out more about you instagram youtube your website i'm really bad with uh social media but i do answer the messages but yeah you can follow me on instagram melanie frisoli on my facebook page which is melanie frisoli ableton certified trainer i have a youtube page which is in french and i haven't posted new videos since live 11 so it's not really relevant right now
and i have a website and you you can find all my my devices i mean all i i made two max devices you can download and a few racks actually so you can download them and they are all free or pay what you want if you want to give me something it's really appreciated appreciate it um but yeah they are free i i love making effects for drums so you will find a few of them and i love drones so you will have something to make drones as well so cool are you gonna make more devices and stuff yeah yeah i guess uh it's um i i need time to do that you don't need time to just hang out on live without doing a real project just like you know when you open live and you don't know what's gonna happen most of the time it ends up to be a wreck
but yeah yeah yeah yeah soon i guess i i wanted to to make new presets uh for for um operator which i love and so yeah kind of the plan but i'm i'm pretty busy right now and i have a lot of stuff to decompose and to play and to study as well so yes are you going to do more youtube tutorials those were great they were coming out like every week there for a while for now i guess um i it's a lot of work yeah you know to do that so yeah i have three tutorials uh i have to make because i made a master class for ableton friends uh it's just like i have to make three tutorials which are like some snippets of the long masterclass just to explain a few concepts it was a whole master class on granular synthesis
which i adore and so yeah i'm just gonna make that in a few in a few days and for my channel which is really not a huge channel i don't know right now i'm i i don't have time to think about it and i have a um have i have another dream uh it's that in 10 years i'm i make things like you in 10 years i'll be a max certified trainer what do you think it's awesome hopefully it happens in the next 11 months no it can't it can't it can't i'm not ready at all uh the thing is it's it takes really a long time to you know it's it's it's a wild wide software yeah so you know step after step
spending a lot of time on max hopefully a new update of mad step which was the step sequencer i made and maybe new things coming up who knows that's so cool well it was amazing to see you again thank you so much for doing this i love you i miss you that was awesome thank you it's really great i love your podcast don't change anything and long life to levels fm awesome thank you so much okay everybody that's melanie [Music]
