Ableton Live 11 Music Production Fundamentals | Cory Kensinger | Skillshare

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Ableton Live 11 Music Production Fundamentals

teacher avatar Cory Kensinger

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

15 Lessons (1h 42m)
    • 1. Introduction

      0:58
    • 2. Installing Ableton Live 11

      1:24
    • 3. Preferences and Customizing Live

      6:13
    • 4. Live Packs, Samples, and Collections

      10:49
    • 5. Session View: Launching Clips

      9:21
    • 6. Session View: Hidden Controls and Scenes

      5:00
    • 7. Drums, Grouping, and Deactivating Tracks

      5:12
    • 8. Custom Drum Kits Using Samples

      9:07
    • 9. MIDI Clips, Draw Mode, Velocity

      8:12
    • 10. Scale Mode and Clip Recording

      11:36
    • 11. Moving from Session to Arrangement View

      4:07
    • 12. Creating the Drop

      14:05
    • 13. How to Automate FX

      8:53
    • 14. Auto Punch Recording Final Part

      6:12
    • 15. Conclusion

      0:42
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About This Class

Explore the Fundamentals of Music Production in Ableton Live 11. Learn the ins-and-outs of Ableton Live's Session View and Arrangement View. Learn how to craft a song idea using loops, samples, audio plugins, and native Ableton Live fx.

In this Class Cory will guide you step-by-step through his Song Idea Process. Starting in Session View, he'll create a song idea on-the-spot using loops, samples, and plugins. Then when a solid idea is furnished, he'll show you how to move from Session View to Arrangment View and build out a larger song idea. 

In addition to basic song creation, Cory also covers advanced features and functions of Ableton Live 11: Session View's Hidden Controls, Automating FX, and how to use subtle editing touches like Velocity Range, Scale Mode, and more!

After this class you'll be able to:

  • Launch and Build clips in Session View
  • Build Unique Combinations of Ideas
  • Record MIDI Clips Using Count-In, Auto Punch, and Looping
  • Create Transitions that Build Anticipation
  • Arrange Song Parts in Arrangment View
  • Automate Parameters for a Powerful Listening Experiences
  • Master the Fundamentals of Ableton Live 11

This class is made for Beginners and requires no prior experience with Music Production. The class is light-weight and explores Music Production concepts in a fun and experimental way, building a retro song idea from scratch. This  class will help you learn how to use the Ableton Live Software, so you can start creating your own songs right away!

Meet Your Teacher

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I'm on a path to create awesome things.

You'll find Illustration, Graphic Design, and Music Production here.


As I develop this channel, connect with me!

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Transcripts

1. Introduction: Hey, how's it going? My name is Corey. And if you clicked on this video, there's a good chance that you want to learn more about music production with a, you know, a little bit already or you just want to deepen your understanding. I've created this class to teach you the fundamentals of how to make music inside able to live 11. If you're anything like me, then you're probably pretty tired at those dry, boring lecture style tutorials that you see all over YouTube. This class is opposite of that. It is conversational, It's workflow centric, and I'll show you how to create a song from scratch. I put everything into this class that I wanted to know when I first started out using able to live and really didn't understand until after a few years ago actually using the program, the idea is to help you get started and break through all the typical hurdles that you face when you first start music production and remove those obstacles so that you can start music production right away. But at the end of this class, you'll know how to arrange a song idea from scratch, complete with intro, transitions, midi recording, and affects automation. So if you're ready, take this class and I'll show you how to make music using Ableton Live 11. 2. Installing Ableton Live 11: So the first thing that we're gonna do is we're going to go to ableton.com and we're going to download and install able to then live 11. If you already have done this or know how to do it yourself, you can actually skip to the next video. But for anybody that doesn't, I'm going to show you how to download right now. So let's jump into ableton.com on just a web browser here I've already got my account logged in. Let me go to my account. And then you can see I have a live 11 sweet upgrade here that I got on launch day. All you have to use it download and it's going to automatically start downloading to your downloads folder. I've already done that, so I'm actually just going to cancel that and clear it out here. You can see I'm able to live Suite 11.2 right here. It's going to click it. And by the way, if you don't know them on a Mac, it might be a little bit different on a PC, but as I only use Mac, this is how I'll show you. All right, so just as you agree to the end-user license agreement here, and it's going to open it up. And then for Mac, all you have to do is drag the icon into the applications folder. And it's going to download all the necessary files and library components for the app itself. Okay, it's now finished dropping into the application folder. And if I go to my Launchpad here, I can scroll over and is able to live streams going to drag the sort of the front pain front of my other apps. And then we can click on it and jump into Ableton Live. 3. Preferences and Customizing Live: Here's a few preferences that I like to change. I just want to let you know up front to that this is completely optional. You don't have to do what I do. I just find that it makes everything a lot cleaner and more streamlined for me. And yeah, I'll just jump right into it and show you if you want to do this, you can. Otherwise, yeah, just tag along and see what informative pieces you can pick up maybe from just looking at the preferences. All right, so what we're gonna do is we're jumping into Ableton Live here. And then to get to preferences, life to press is Command comma. Or if you want, you can go up here to live and then preferences. You'll see that there's that shortcut here to command comma. Alright, so the first thing that I like to do is if I want, if I'm in the mood, you can go to look and feel. And under this tab you'll see theme. You can change it to mid dark and go all the way to dark. They even have a previous live in nine skin in here if you want to use that. Most of the time, I really just keep it on men lie. And if I want to adjust the brightness here, I can do that too. You can double-click to bring it back to a 100 percent, which is the default. Like they bump it up a little bit here. So maybe like 120, that's about what I want. And they had this new reduce automatic colors. I think it just brings more contrast between the colors. So I do turn this on and I like how it color codes things when it's on. The next thing you can go to is the Audio tab. And you can make sure that you have your audio interface set. You can see I have a scarlet to i2 from focus, right? That setup as my input device and my output device. He can change things like sample rate here. I don't mess with a lot of these settings. I might come in here once in a while and change the buffer setting to 256. If I'm recording audio and I want to lower latency or recording guitar, and I want to lower latency with that as well. But for the most part I leave that set to 512. Yeah, that's that's pretty much all I do in this section. Going on to the next section, you'll have all your midi controls and preferences here. I don't really mess with that unless I'm using a midi keyboard and then I can change the settings for that control surface. But yeah, I don't really do anything off the bat here. Next thing I do, do is in the file folder section, I will always turn off create analysis files. Now this is one of those things where totally optional. You don't have to do this. A lot of people use it and keep it on because it makes loading up your files a lot quicker. But really like when I'm looking through my files on my finder window, I don't like all the analysis files that it creates next to different things. And if you leave this on over time, you'll see that it creates these little analysis files all over your hard drive and it just makes things more efficient and quicker to load me personally, I like to have it off because I don't want a bunch of file blow all over my computer. It's not a huge deal, it's just a personal thing for me. So I turn that off and then outside of that and leave everything else alone here. Now if we go to library, I don't do anything. I leave everything set to default. You can turn where they're not able to INS packs visible on or off and leave that set the honest, I do like the packs and you're able to inspect. Plugins. This is where you're going to turn on the ability for, able to scan for your plugins. So if you have VST plugins, VST plugins, I typically just leave it set to the system folders where all plugins natively download. And I'll turn that on for VS T2 and then do the same thing for VST 3. And as you can see, it takes a little bit to load up when you have plugins downloaded to your computer. It'll actually take a little bit longer to turn these buttons on because it's scanning your computer for these plugins. Right now that that's set up. I don't mess with anything else here. And the record warp launch file, you can change it to different like WAV file. You can easy as AIFF, I usually leave it there. You can change things like Bit Depth, quality of those files. As you record them. I really leave everything set to default in this tab, mostly except for I don't leave this honor here, create fades on clip edges. And the reason for that is because if you allow able to create fades on all your clip edges by default, it can actually mess up the transients of your drum sounds, percussive elements that you're using inside your project. You can sell, add fades to any audio material later on manually, but I recommend turning this off so it doesn't mess with those transients and you get to retain the punchy nature of percussive samples and drum samples. Turn that off and everything else. Looks good. The last thing is a license and maintenance folder and you can have live automatically update. I normally turn this off, either IT to ask me or never because it lets us know that it won't take effect until we restart live. But the reason I do that is because with live and the releases are usually very stable. I think it's one of the most stable programs I've personally ever used. But like any software piece, if he get into a flow of using one version and it's virtually bug-free for the things that you use it for. And you want to keep that, that workflow going. And if you use this professionally, you really want to make sure that it's up and running and there's no weird bugs that come with it. But like I said, Ableton Live as a whole is very stable. I don't see a whole lot of bugs. There might be if you long-standing things here and there, but really like it's a stable program so that you can do whatever you want, want, want with this virtually. It's up to you. For me. I just like to know what's in the most recent release and kinda get some feedback online and forums or just, you know, what's, what's the experience of the user base before I really download the most recent version of Ableton Live. Okay, so that's it for preferences, like I said, completely optional. If you found something useful in there, you can implement it when you install on bootup able to live. Now we're going to get into laying the foundation of understanding how Ableton Live 11 works. And I'll show you how to make some music with it. 4. Live Packs, Samples, and Collections: Now that we've set up our preferences, I'm going to show you guys how to use the browser and also install Ableton Live packs as well as how to use just like all these different categories over here and separate them into your own collections. So the first thing we're gonna do is we're going to install some Ableton Live pack, some of my favorite packs by the way, and all you have to do is go to place this underneath a browser, which is what this is right here. And you can always toggle this closed or toggle it open. But packs are right here. And these are all the different packs that are available depending on the version of Ableton Live at you purchased. And if I click this little disclosure triangle, we can see that I have all these packs that come with Ableton Live sweet. Now some of my favorite packs right off the bat and Ableton Live 11 are I like the upright P and L by Spitfire audio. I'm going to download that and just click this little arrow. And then it shows by like the little yellow highlight that it's starting to download. Another pack that I want to download is see if I can find it here. Pitch loop 89, That's a pretty cool audio effect. I'm going to download that as well. Might not use it in this class. And you can see that's already available to install, so I'll just click Install. And then with each Ableton Live pack, we have an explanation over here as to what this particular pack does and how to go about using it. And then they have a little guide down here you can click the next page should go along and read about the different functions of this specific pack. And in this case, it's an audio effect that you can control. And I'll tell you all about it as you page along. And if by some chance you end up closing out of this lesson is what it's called. You can always get back to it by right-clicking on that individual pack and then show default lesson. And then ECU, we have it available right there to read. Okay, Now the next thing I'm going to install is what it looks like a upright pianos ready to install someone, click that and install it. And since this is a little bit more, memory, takes a little bit more to install, and then we have our default less than that pops up here on the right-hand side for that one. Now another one, Let's see here, really liked, inspired by nature, by Dylan Boston. I'm going to download that one. Voice box. This is another great one. I love this one. I think the voice synthesizer sampling that they've used for this pack are really, really useful. I love the sounds of them clicked install that one. We get our default less than on the right-hand side for that. And I think that's all I'm going to install for eight now, but you can take a look through these. And I couldn't solve the inspired by nature one here. But yeah, I would definitely encourage you to look through these packs, download them, try them out. And yes, you, which you can create with them, there's a lot of inspiration to be had. Just buy these packs that you can get with Ableton Live standard or Ableton Live sweet version. You can also buy them individually enabled some lives shop. Now the next thing I'm gonna do is I'm going to add a sample folder on my external hard drive to able to live that way. I can use my own custom samples throughout this class. And just going forward with my music production. And all I have to do to add a custom sample folder is click the Add Folder here under places. It's going to bring up a Finder window on my Mac. And then I'm going to navigate to the external, which is the strive right here under music. And then here's all my samples that I have available for custom usage. I'm going to click Open. And as you can see, it creates a folder on the left-hand side here called samples. And then I have them divided as I'd like and ready to go for usage. Okay, so now that I've installed some Ableton Live packs, I've added my own custom samples folder. I'm going to show you all these different categories and how to use collections over here. So with Ableton Live, you have a bunch of built-in core sounds that you can toggle through and try out. And for each one of them, if you click it, gives you click the space bar to stop that. And then you can do the same thing for drums. There's a lot of just core kits here you have 800 eight kit sounds, really good. Very classic sound. And then so on and so forth with instruments and audio effects and all that. Now, collections, beaking go through all these different built-in sound and start curating our favorite sounds and effects within these collections. And how we're gonna do that is we're going to click this Edit button right here. And then I'm just going to start selecting some different colors. And we'll start dividing out some different effects and instruments. Now, I think at the top I'm going to choose this for exclusively the plug-ins that I use the most. So I'm just going to right-click this and hit Rename, or you can use Command R to rename it. And I'm going to title this Plugins. And then my plugins that I showed you how to scan and the preferences video is right here. I can click the plugins and then I have both VST and VST 3 is available for me to choose from my favorite ones. I'm just going to stick with VSTS for now and just separate out the most used ones. So for me, I use mass of that as an all-time classic that I use almost all the time. So I'm going to drag that into the plugins folder. And then if I click on the plugins folder, you can see that there's a little highlighted red box next to this massive listing and that is now within that collection. I'm going to go and do some more plug-ins that I use a lot, complete controls. Another one that I use with my midi keyboard controller, I have a complete control, M32, which is a fantastic ME control of super cheap and super useful for my production. So I'm going to drag that into this collection. And then also fab filter, LTI, use that a lot. Track that in pro Q3. Another favorite of mine, replica XT, great delay plug-in, Serum, fantastic synthesizer, ROM, that's a Native Instruments reverb. It's a great reverb plugin. And I think that's about it for now. I'm just going to leave those in my plugins folder. And now we can move on to a couple of different sounds that I like. Specifically within Ableton Live 11, I'm gonna go to instruments now and under wave table, you can see that we have all these different instruments. Right off the bat. We have drum racks, you have drum since we have analog, which is a synthesizer. And then we have FM synthesis with the operator here. Wavetable is a new synthesizer, newest instrument that's been. David with Ableton Live 10 and it's even better with Ableton Live 11. I'm going to go ahead and on, twirl the menu here, and then there's a couple that I really like. I like basic fm, how space when I add that up to plugins. And what else here? There was another one specifically Basic trigger base also like that, S2. And then just drop that in the plug-ins. Okay, Now for audio effects, we're going to move on to that. And you can see that with Ableton Live 11 and they have a whole new organization where each effect is actually separated out by its type. So we have all our delay and loop affects over here, driving color down here. So we've got some amps, drum bus, things that will color our sound or add some drive to our sound. You have dynamics. So all of our compressors, gates, limiters, multiband Dynamics, all that down here, and then so on and so forth. So I'm going to go ahead and separate some of these audio effects out to one of these categories. And I'm just going to probably use, I could use the plugins folder or I could create a separate category for that. I think I'll just do, Yeah, I'll do that. Rename this affects. And then let's go back to audio effects. Let's see what I want to add here. Well, I'm going to add the ones I use most compressors, definitely one of them that I use the most glue compressor that's a great one. Eq I also use Ableton to EQ Eight and Channel EQ once and awhile. I definitely use the Auto Filter. I'm going to add that to effects. C for modulators, LFO, yeah, I'll use that once and awhile. And then auto pan, I like that effect. I really like hybrid reverb. That's a new reverb inside of Ableton Live 11 vocoder. That can be a cool effect and different things. And then we have the Utilities folder. I'm going to add that to its own list here. We'll choose this for the yellow category. Title utility. Back to audio effects and drag in utility here and tuner. It's another utility I use a lot. And I think that's good for now. Now for midi effects, there's a bunch of those we have like key control media effects. You have arpeggiator is cords. I'm going to create a whole new category for that. And we'll just title this midi effects. And I'm going to drag in, of course, an arpeggiator. And then for scale, I'm actually going to twirl this down and choose some of my favorite scale midi effects. Some major pentatonic is going to be a big one that I use a lot. Major alone is also another one. Minor pentatonic and minor by itself. And that's good for now. Yeah, I think that's a good start. So now you can see we have all these different collections that we created where all of the most used things that I'm going to use throughout my music production process are now available to me at a quick click. So plugins affects utility and midi effects. Now if I want to, I can also drop samples into these other collections over here under the blue, purple, and gray category. And we might do that and the following video lessons. But just so you know, it doesn't have to just be plugins and utilities and midi effects and things like that. You can actually drop full loops, full audio clips into these categories for quick reference at any point in time. 5. Session View: Launching Clips: Okay, So we're ready to start making music inside, able to live. And what we're gonna do is we're going to really digest how this program works. And we're going to do this while we make music so that we can really get firmly in place the understanding of how to use Ableton Live itself. And we're going to work from top to bottom, going from left to right. And we'll break it down into chunks, and then we'll work our way on from there. Okay, now that we have our browser setup and we have all of our plugins effects and utility is all separated out into collections. We're going to look at Session View and I'm going to show you how to launch clips and launch individual scenes and the whole anatomy of what makes able to live so special and unique. Okay, so we're going to close our browser right now and there's a keyboard shortcut for this as well. If you want to use Command Option B, and that closes your browser right away. Now, the whole thing with Ableton Live and what really put it on the map as far as a digital audio workstation, is the fact that it was one of the first digital audio workstations to work in a non-linear fashion and have that as one of its strengths. In most Dawes, you're used to working from left to right. So if I click over here on this little toggle selector, we can move to Arrangement View. And this is a left to right workflow. I'm going to minimize the browser here. In fact, I'm just going to close it out. Now this is what you're used to seeing a most audio programs where you're working on a timeline and you're working from left to right with your audio pieces, your midi pieces. And you're putting everything out one after another or over top another. But it's in a space of working exclusively from left to right. In Ableton Live. They were one of the first, if not the first, to move out of that left to right constraint and start giving craters option to work in a non-linear fashion. Meaning they can launch midi clips, audio clips, at any point in time, and test out different ideas as they went along and down when they are ready. And then when the artist is ready, they can move out of that non-linear workflow and move to a more traditional workflow in the arrangement view. So what we're looking at here is the Session View and we can launch individual audio clips from Session View. And each one of these is a track. And it corresponds to the arrangement where each one of these is a track. Non each track we can have audio clips and we can have midi clips. We can use individual plugins, or we can use loops and samples to trigger. And that's what we're gonna do right now. So we're gonna open the browser backup. And we're going to go the sample folder that I created. And I have a specific one called able to 11 class here, I'm going to twirl it and take a look at some of these. Now if I click on one of these samples within this folder able to live is going to automatically start playing us a preview and it will play in the BPM of the sample itself. So a 100 and you BPM for this one. If I click on it, we get a nice audio preview of what that sample consists of. And then what we can do is we can drag it directly from the browser to one of these tracks. So I'm going to drop it on this audio track for. And now we have an audio clip in Session View on its own track. And this is an individual audio clips with its own launch button, which is what this is called right here. This little triangle. If I click it, it's going to trigger that sample back. So that is how you launch individual audio clips inside of Session view. And the cool thing about such a view is that you can actually drag in individual loops and samples and then test them out in your session view while the whole project is playing back. So what we're gonna do is just press Space-bar or we can launch it by clicking this individual launched clip. And now I'm going to go back to my samples folder. And I'm going to see what other sample sound good with this. Now if I find that the whole project itself is a little too loud or the preview itself is too loud. I can control the preview level by clicking and dragging on this little headphone icon, rotary right here. And then if I want to drag the project down a little bit to give myself maybe some headroom or just two less than the volume while we're trying out different ideas that can do that as well. Now you'll notice, and I forgot to mention this as soon as I dragged in this first audio clip to our session view, it automatically updated our projects tempo to a 102 BPM because as you can see, that's what our audio clip is listed at. Now, if I want to change this, I can still change it. And it's going to update this audio clip to warp. It is what it's called and start playing that back at a 124 BPM. So if I click this now you'll notice the speed difference. And you can test out different BPMs dynamically by using these nudge buttons. Now if I click on the left one, it's going to slow it down. When I let go, it'll go back to the header and 24 BPM. Clicking this speeds it up. And then I can also click and drag to change the entire BPM live. Double-clicking will put it back at a 120 BPM, which is every Ableton Live project's default. And then now it'll play at a 120 BPM. But I really like how it sounds at a 102 sums. Going to double-click in here and type in 102. Okay, now I'm going to add another audio clip to our project. And let's try this. Ambrose Arbery here. Okay, that sounds, Let's see what it sounds like with the audio clip. Click on it again. Now one other thing I want to mention is that this is our quantisation menu right here. And the clips that we click won't start to play until they reach a bar. Or if I want to change this so that it launches quicker, I can change this to 1 16th. And you'll notice once I click it and I click on the ambrose, sample, starts playing back right away. I like that sample, so I'm gonna click and drag it to our third audio track. And then press Spacebar. And you'll notice that it doesn't trigger this one because we haven't clicked on its individual clip launch. Now if I want to launch this clip by itself, I'd have to first stop this one. And you can do that by clicking on the clip Stop button for this track or the global clip Stop button for all tracks. So I'll click on this one here to stop this track. And you see that it's not highlighted anymore by playback, nothing's plane. This is actually a feature of Ableton Live because you can individually launch clips whenever you want. If I start to play this audio clip and click its launch button, I'm going to set the quantisation and eats back to one bar. So that when I click this one, it'll launch on the next bar. So that sounds pretty good to me. I think we need to add a base to this project. And if I remember right when I was previewing earlier for ideas, this base 128. Prouder and sounds pretty good. Let's go ahead and launch Eclipse and just see what it sounds like with it. Yeah, that sounds good. So I'm going to drag this out to our session view and then drag it out here. And then you'll see that there's not an available audio track, but as soon as I drop it, it creates a brand new audio track. So we'll go ahead and play this back with the Spacebar. And then we'll launch the base on its own. That's sounds good. So that's how you launch individual clips inside of Ableton Live Session View. Now in the next video, I'm going to show you how to use scenes, which is what these are you here, these 123456, so on and so forth. These are able to live scenes. We can launch to play these entire clips and I'll show you how all that works in the next video. 6. Session View: Hidden Controls and Scenes: Okay, so we're going to continue working in Ableton Live Session View, and now we're gonna take a look at scenes. So I've shown you how to add loops to your session view, and that's what these three audio clips are. These are loops that we can play back individually. But now we can also play back the entire scene of ideas that we've arranged. Because now that we have to RPS and a base, we have essentially a whole loop, a whole eight-bar idea that we've created. And I'm only want to launch them back as a whole globally, we can use what we call scenes in on our master tracker here. That's what these are. These are seeing this 1, 2, 3, these are different scenes that we can launch on our tracks. So if I click this button right here, it's going to trigger all three of these loops to playback at once. And I can press the space-bar to stop that playback. But now if we drag out from the left here, and if I just hover my mouse over, I can click and I see this bracket here. We have these hidden options inside of each individual scene. And it's really cool because you can change each scene to have its own individual BPM. So if I wanted to say, for instance, try out a couple of different BPMs. Before I do that, let me create a little bit more space. I'm gonna close this default lesson and we can close our browser. Giving yourself a lot more room now. But now if I wanted to try out different BPMs for these individual scenes, think of it like this. We have our individual tracks. We have our clips on those individual tracks. And that for each set of ideas, we have a scene that groups all those tracks and clips. So very organized way to look at it. And now what I wanna do is I want to try to different BPM for this. So I'll drag this one up to 10, 11, and then I'll drag this next one down to, let's try 90 or 91. We'll leave at 91. Now if I drag these individual clips by clicking and holding and then holding the Alt button on my keyboard, I can drag that clip down. Do the same thing for this Rp over here. And then also for this RP. Now you'll see that we can test out different ideas completely independent of each other and we're still not in a left to right workflow. We are freely moving in a non-linear way. So if I click this scene launch button is what it's called right here, this triangle. It's going to launch all three of these clips. And it's going to be at a BPM of 111. Let's go and try it. So you notice that speed up right there, we can hear what it sounds like at a 111 beats per minute. Now let's try the 91 beats per minute. And then you can toggle back and forth just to compare and see what you like. Now, honestly, I like what it sounds like at a 102 BPM. So what I'm gonna do is I'm going to click this first one and then hold Shift, and then click this one. And then I'll hold all interact these clips down. And let's just change this bpm to 102. We'll click the scene launch button here. Yeah, like that's not too fast, not too slow, and the sun's just right now if we want to hear what this bass sounds like with this art by itself, all we have to do is click the scene launch button and while everything's playing it back, hit the clip Stop button for this individual tracks. So we remove that from our idea. So let's go ahead and click it. Click the Stop button. Now we're just hearing the first item in the bass. Clicking the Mac clips stopped. Now we just see at the base. And now if I just want to hear this arc with the base, I can click this clip launch button. If I just want to hear both RPS together. So as you can see, it's a very fluid way of testing out different ideas. And not only can you change the BPM, but you can also change the time signature for each scene. But just think of each scene as an idea of audio loops and midi clips. It's a very powerful way to really get your creative juices flowing and not feel the pressure of having to have everything laid out left to right timeline and have all the pieces together. Because what you're essentially doing is testing out different parts and seeing what puzzle pieces fit with your idea. 7. Drums, Grouping, and Deactivating Tracks: Now that we've talked about launching live clips on our tracks and then launching scenes across all of our tracks. I want to show you how to really take advantage of this non-linear workflow by trying out different drum ideas. So I'm going to navigate to my samples folder down here. And then I have a folder that's dedicated to just drum brakes that I've collected over time. And I want to see what they sound like with this sort of retro vibe that we have going on for our musical idea. So I'm just going to launch this scene back and start testing out some different drum samples. Drum loops. Sounds cool. So it goes up. The Bible. Doesn't work too fast. So it works pretty good. Let's start dragging some of these out here. So now I'm going to create a new track just by dragging out here. Keep in mind like this clip is completely separated from the rest. These clips don't need to be by each other at all. If I click this clip, it's going to launch this clip. But then everything that was already playing previously will play back with it and you'll hear the whole idea together. So you don't have to be next to each other, adjacent anyway, you can truly be non-linear, non next to each other. When you're playing these clips back. Think this is the one that I also liked going to drag this up here. And then if I click this one, it's gonna play everything that was playing back previously, plus this, and we'll hit here this other drum part. So we'll just have to stop it on this track once we play it back. And actually that didn't even sound bad. Sometimes it's, sometimes it's a good idea to actually layer your ear drum loops because it creates a thicker, fuller effect for your sounds. Can also sell low and deactivate tracks here to see how adding that layer drum loop kind of creates a fuller sound. As a whole new level of fullness to it. Let's try some other tracks. Like that. Sounds like the timing might be off a little bit here, but you can still try. It doesn't work, right? Yeah, that one works too. Let's drag that out there. Reactivate this track. Okay, so now we have really started to flesh out an idea here. But I think I want to create my own drum track. I like how the sound, but I just, I think, I think I can go for something that's more true to that retro vibe that we have going on for the musical idea. So what I'll do is I'll just click this track, click this one while holding shift, so it selects all of them. And then I'm going to press Command G to group these tracks. And then I'll click here press Command R to rename this group. And I'm just going to name this drum ideas. So we can keep that as a reference. Click this little circle icon right here, and it'll fold all those tracks up. And then we'll just deactivate that group so we don't hear on playback. It's also worth noting too. You can also deactivate individual loops are clips by clicking on a clip and the pressing the Zero button. And you'll see that it essentially takes away the color. And now that individual clip is deactivated. To reactivate it, you just click the Launch button and it's back. 8. Custom Drum Kits Using Samples: Okay, Let's go and create their own drums from scratch. And what we're gonna do is we're going to utilize able to Live's drum rack. And I'm going to add that to our collections over it because I think I forgot to add that when I was separating everything out. So what we'll do is we'll go to instruments under categories here. And it is right here. So drum rack, if you click on this arrow, you'll see that there's Premade Kits. This is one of the kids that I made previously. And There's drum racks for the voices pack that we insult earlier. But what I'm gonna do is I'm gonna create a drum rack from scratch. And I want to add this to my collection. So I'm going to add this over to our plugins category or collection. And then I'm also going to drag this drum rack out to ear. Actually you're not going to drag it to track to you since it's already got a midi track on it. And then we have drum rack added to that second track. Motor. Delete this midi clip right here for now because we don't need it. Just kinda keep everything organized. And then let's also start naming these other tracks year to keep them organized as well. So to name attracted you to do is select the track heading, press Command R, and then you can type out and name it whatever you want. I'm going to name this one rp one. Do the same thing for this one command are called ARP, Arp 2. And then this one will be bass. And now everything is organized. Now you can change the color for each individual track by just right-clicking on the track heading. And then he had all these color options down here. And it gets a great idea to start getting in the habit of organizing your tracks. And some people even like to use colors to signify different frequency. The more red or warm it is, it could be more bass frequencies and the cooler the color is, it could be for higher frequencies. I think I'm going to follow that for this one. So let's actually just churn the base here red. And then we can right-click and then assign track color two clips to recolor all the clips. Then for the RPS, This is blue, so that's a good color because it's more of a higher frequency instrument or one. Let's see what other colors we have here. Let's do like maybe a lighter green. And then right-click assign track, colored Eclipse. And then drum rack, we'll change this to yellow. That's kinda in the middle. It's more of a percussive instrument. And it shows up really well when you're recording. So we'll just leave that as yellow. Okay, So I'm going to create a retro drum rack or get us close to a retro sound as I think this idea will work with. And as you can see, when I drop that drum rack instrument onto this midi track, track one, it created this device down here and you see it's like a little device that has all these individually empty cells and end to the, each one of these cells, we can drop drum samples and essentially create our own custom drum kit. So I'm going to go back to my samples folder that we added earlier and just close this up. I have a specific folder here titled synth wave. I'm going to try out some of these drum samples and see what it sounds like in a kit fashion with this idea. So first I'm going to add a kick to the first cell. And I'll just preview some of these kicks here. And I got a snare there. Okay, so I think I'm going to try this second kick here. I'm going to drag it down to the first cell, which is C1. And that just tells you where on the keyboard it will play back. Now, I have my midi keyboard engage over here, which is highlighted in yellow. So if I press my midi keyboard, I should hear something playback, right? Well, when I click it, nothing plays back. That's because I need to get to the right Octave for my computer keyboard to play back that sample. So if I press the Z key on my keyboard, it's going to drop it down one octave. And then if I click it one more time, pressing Z and drops it down a second active and you can see notated down here. And while it was there, was, it was highlighted for a second that it dropped it down to C1, which is where our first kick samples playing back. So when I press my keyboard, we hear that sample played back. Now, each individual sample that you drop on these cells actually gets placed in its own samplers, what Ableton Live calls it. And this essentially gives us all the controls for that sample. If you take a look here, we have one shot highlighted because that's the mode that it's currently in. And you can change like things like volume here. So when I you can level out each individual cell using these controls and you can also change the pitch. And then if I double-click, it'll bring it back to its default. Okay, so we have our kick setup here. Let's try out some snares like this one. This one sounds pretty good. Drag that to C-sharp One. To acquire someone to bring up the volume here. All right, and then if I play in my scene back here, let's just see what the drum sound like with it. Need to make sure that the arm button is clicked here. That's what is this called? This is armed for recording and playback. So if we press the spacebar now, start drawing out something. Yeah, like how that sounds. And then let's add a hi-hat here. We've got some hats. Let's try this one on the hi-hat West on D1. Let's raise the volume on that and just see what it sounds like. Yeah, it sounds pretty good. Maybe changed it out. Yeah. Hi hat orange. Raise the volume. And then I think that's good, a good start for our drum kit. We could also add some Tom's too if we wanted to do this kit. Yeah, Let's add these in. So I'm going to add the first time here. Okay, so now we have pretty good kit. Okay, and then to round out our kit, we're actually going to add a compressor to this. And there's a specific setting or a specific preset for Ableton Live compressor that I want to add to it. It's called full parallel. And if I press Command F and I automatically takes us to our browser and search for full para. And then you see that we have this compressor preset here. I'll have to do is drag it outside of the drum rack. And instead of being added to the individual sample, It's now applied to the entire drum kit. And if we play it back, just add some more fullness. A thicker sound. Kind of glues all those sounds together. Now if I select the device for the drum rack and then the effect. And then I did that by holding Shift and then clicking on both of them. And then press Command G. It's going to group all of that into one individual device so that we can save this as a preset for later. So I'm just going to click this little disk icon at the bottom. And then you can see that it brought it up here to the browser. And we can name this whatever you want. I'm going to name this retro kit. And then press Enter. And it saved this as a preset inside of our browser. And then if I wanted to save this for later as well, I could even drag this up to Plugins and then add that for recall later. That way it's always available for us. So it's a great way to use the collections and presets aspect of Ableton Live. And now we have a kit created, okay, now that we've created our retro drum kit, I'm going to show you how to create a midi clip from scratch in the next video. 9. MIDI Clips, Draw Mode, Velocity: Now it's time to take a look at midi clips. We've taken a lot of time looking at loops and audio clips and how to launch them on our tracks within our scenes. But now it's time to take a look at how to create midi ideas. And this is going to be super powerful for you because not only can you create drum ideas, but you can create any idea with any instrument in any plug-in going forward. So how you do this inside Session view is you double-click on this cell or any cell within session view on this track. And then it will create a midi clip for us. And you can see it pops us right into what's called the piano roll. And then we also have a clip view up here on the left-hand side. Now, because this is a drum rack, it's super convenient because it's already isolated those individual drum cells that we dropped our samples on. So now we have our kick and snare hi-hat and all our Tom's here as well. So what we need to do first is just enabled the headphone icon right here, which is this tiny little headphone. And now when we click on the piano roll with our cursor, we can hear our samples playback. Now, what we want to do first is kind of establish how long we want this midi clip or this loop to last for. And I think right now where it's at, one bar is good. We're going to create an idea from that. We're going to create our first drum kick on the first downbeat. And then we'll put the snare here. And if we just do this again here, and then the snare, Let's see what that sounds like. Let's just press play and see what it sounds like with our idea. And they want to launch our individual clip up here when we set this down triangle right here to remove the piano roll and get out of our way. If we want to launch that drum idea, solid start, we got our idea going. Now let's add some high hats. And a quick way to do this is to hit the B key on your keyboard. And then it brings up this little pencil cursor here that we can start drawing out. Our high hats width and heights typically are 16th notes for this kind of style, this tempo. So what we're going to just click and drag across. And notice too that you can actually use the Draw mode to draw across other samples. I'm just going to undo that. But if you just want to constrain it to just the cell that you're working on. You can hold Shift. And it will you can hold Shift, and it will only work on that individual sample that you're working with. So let's go and play this back and see what it sounds like with our idea. Yeah, like where that's going, that, that actually sounds really good. I'm liking the idea. But what I wanna do is I want to experiment with some different velocities can right now, everything is hitting at a solid steady velocity for the high. Specifically, in order to change that or what I'm gonna do is just go back to the cursor, which is just hit B to get back to our cursor. Then I'll hit command, press Command, and then click on this key. It'll select all those midi notes. And then what I can do is use the velocity lain down here. I'm going to click and drag this up so you can see it a little bit better. Now a velocity does, and it only works for plugins that are velocity sensitive. And then for anything else like this sample right here, it's going to just change the volume. But I don't want each midi notes here at the same volume. So what I'm gonna do is just Command and then click on the piano key, selects all those notes. And then let's move the velocity down a little bit here. A 94 is good. And then I want to change the range of it so that there's a possibility for higher and lower. And so it gives it a little bit of inconsistency and humanizes this drum part. So we'll go to the clip view here and you see that there's this velocity range. If I click and drag up, you'll notice that now there's a highlighted area for each individual midi note. And that means there's a probability that it can hit between that 94 and whatever this value is up here. So if we play this back, let's just see what this sounds like. And then I'm going to press Shift Tab to change to Device View and just see here what it sounds like on its own. I'm going to press solo on this track and just see what it sounds like. And you can hear there's a little bit more variation in that high hat pattern now. Now if you want them to be even more variation so that the effect is more noticeable. We'll just double-click back into our midi clip. We'll make sure that everything selected right here by holding command and then having that key like it is. Let's drag these down a little bit further and then adjust the range to be a little bit higher. And let's see what this sounds like when it is fight back. And you can hear that that velocity is changing and adds even more inconsistent and gives it a little bit more human of an effect. So let's un-solo it. Yeah, I really like where it's sitting. I think that sounds really good. It gives it a whole new vibe. It's not so robotic and actually makes it sound a little bit legit. Now let's pop back into this Miniclip here and just take a look at the controls that we have within clipped view. But I love about Ableton Live is they have these buttons over here that make simple tasks so much more easy and convenient. For instance, this button right here, this will actually play back our clip at doubled tempo. And if I click it, it's going to speed up our clip by double. Now you notice that actually made mistake here because all of our high hats are highlighted and so it only controlled those midi notes. I'm going to actually press Command Z to undo and then make sure everything is just deselected so it controls the entire Miniclip. And then we'll press the double time button again. And you'll see that it now has squash everything within a smaller area and made that clip even faster. So if I press Play, it's going to sound really fast. And it's crazy. So walks, I click the half tempo button next to it to get it back to where it was at its original state. And it's back to where it was normally. Now the half tempo button. If I click it one more time, it's going to make it even slower this idea and stretch it out over a longer period of time. So you can see that within our clip view here, it took it from one bar and length to two bars on like if I go ahead and make it shorter again, it brings it back to one bar. And then if I want to zoom everything I automatically, so it's back to where it was with a view. I'll have to crop clip. And now we're zoomed back out. Shift Tab to get back to devise view. Okay, so now we have our idea really rockin and now we can move on to adding a lead part and I'll show you how to do that and record into Session View in the next video. 10. Scale Mode and Clip Recording: So we have a solid, solid idea going on right now. And I want to save everything to protect our idea and make sure that we don't lose it just in case something crashes. One of the great things about Ableton Live is that it hardly ever crashes, at least in my experience, that is, I have experienced nothing but solid reliability from this program, from the day I started using it. I like a lot of other programs out there. It's just, it's really, really reliable and my experience. So what we're gonna do is we're just gonna go to File and Save Live Set As. And I'm actually going to change the destination or you can hit this drop-down arrow and kinda go to Documents. And I'm just gonna say this into my documents folder and call it retro project. And click Save. And then it's saved it for us. So now we have everything that we can rely on and keep in this project folder. Now let's go ahead and move on to actually creating a lead idea. And I'm going to use a plugin that's one of my favorites. Someone to go to collections here and drag in serum. One of my all time favorite plug-ins. And there's this specific analog Juno synth harp that I really like that I think that would fit this song idea really well. So I'm gonna go ahead and center my user folder here. Yet Juno space heart. This is an awesome sound. And in my experience, I want to drag the cutoff up a little bit here. It's going to test this out. Love that sound. And while our project is playing back, Let's just see how it sounds with it. Yeah, it sounds really good. Okay, so now what we need to do is go and rename this track here. Press Command R, call this scholar's Juno k. Let's go ahead and change the color on this to orange. Yeah, it's good. We can just leave it over here where the drum ideas, okay, so we got Juno, but I'll change it to Juno, the lead. Keep everything straight. Okay, the next thing we're going to take a look at is scale mode inside of midi clips. And just like we have with our trunk clip, where we can see the individual cells inside of our p and our role when we're editing our drums inside of a Miniclip, we can see the same thing inside of a instrumental midi clips. If I double-click here to create a new midi clip, we will go over here to scale. And if we turn on this button and click it, it gives us the option to lock our piano roll over here to an existing scale that we choose. And for r is we're going to choose C minor because that's what our ideas and, and then we can click this button to isolate RPN are all just to our scale of C minor. Now we want to create a new idea for this. So we're going to press the B. Key on our keyboard here. And we're going to create a brand new lead idea for our song that we got going on here. So I'm just going to start creating something. It's all started at around like S3. Maybe. Try some different ideas here. And then also too, if we press Command 1, command to, we can go up and down and change the divisions on our grid here. So if I want to work with just sixteenths to start off with, you can't click anything wrong. It's going to be in the key. All right, So this completely at random. Let's just see what that sounds like. A play it back and then launch our Miniclip. Yeah, it's really random. So I'm going to I don't know, let's, let's, let's select it all command a and then reverse it to see what it sounds like. Maybe invert it. That sounds kind of cool. It's a little better. What I'm gonna do is we will keep that clip, but let's work on something new. I'm going to show you how to actually record into Session View now. So in order to record into Session View, if you're using your keyboard, you want to make sure that the computer keyboard is toggled on here. And then I'll have to do is click on one of these circles and clip record into that individual cell. Now before we do that, we want to make sure that we have a little bit of time to prepare before we start recording the idea. So if we click on the metronome settings on this little triangle right here, just make sure that you have accounted of one bar and that's gonna give us a little bit of time to record in and prepare ourselves before we hit that point of recording. And if you want to engage a metronome, you just click here. And then you can also have the option of just using your metronome once the recording has commenced and started. So we're gonna go ahead and record it in an idea here. And then also if you're not experienced in music theory, it's completely fine. I've actually saved over here in the midi effects. This is native tables on live. They have scale lock midi controls. So basically what this device does is I'm going to drag in this minor midi effects device over here that we separated it out in the browser video. And it's already set to C minor, but you can change the scale to lock to any key that you want. And then when you play your midi in using your keyboard, it's going to lock to that scale. So if I just test it out now yo here what I'm no matter what I had on my computer keyboard, it's locked to C minor. So let's go ahead and just play with some ideas. And then we'll record in an idea. So let's just play back and just see what we can come up with. And then I'm going to stop that clip right here. So we'll just put stopwatch or let's just record something. And so with the clip record button here. All right, hit the Spacebar to stop. And let's just go and turn off the metronome phenomena. We don't really need it. Let's double-click into that clip that we made and recorded it in. And you can see that we have everything so locked to the scale because we already created that scale lock using scale mode. But you can also see the performance that rag recorded in here and now it might not be perfectly in time and that's fine. We can fix that. So I'm going to get out of the draw mode here by just hitting B on my keyboard. And let's just play it back and hear what it sounds like again. Okay, So with everything selected still, and if yours is not selected, you can just press Command a. I'm going to press Command U, and that's gonna do what is called quantize. So if I press it, you can see that my midi notes have jumped to the nearest eighth note on the grid. And that's because of the settings that I have set up here. And if I needed a change, that quantization setting or that grid setting, just remember it's Command 1 to go up, command to go down and divide those as you need them so that it locks to the nearest a three-sixteenths out, depending on your situation for this one, this is a little bit slower, but it'll be IID part, a little bit of a slower motif. So I needed it set to 1 eighth. And you can see that it bumped each and every midi note to the nearest eighth note. So if we play it back, it's going to be a little bit more in time. And then he can go in and individually edit these as you see fit. So if I wanted to move out here, and I think that sounds pretty good and can also preview it in the middle of the clip if I wanted to. Okay, so that's one idea with Shift Tab to get out of that and let's record a different idea now. Let's go back into the sea what it looks like. And then press Command U to quantize it. And I think I want to change this node over here, Alex. Whoops, Command Z because they'll, all the notes were selected. And he noticed too that like even though these notes are inside the scale, they still sound like there because we have this media device applied to our plugin. So let's, we can actually correct this by just selecting these notes. They're outside of the scale and then drag them up. And then disengage this device, bringing these two down. Okay, so we have two ideas for lead parts now. And I think it's time that we start arranging our project and move into Arrangement view. We have enough with our song so far it's pretty fleshed out to the point where we can actually create a full song out of this entire motif that we have gone on this whole idea. So that's what we're going to jump into and we're going to start working on flushing out the entire song in the next video. 11. Moving from Session to Arrangement View: Okay, so it's time to start turning our idea that's in session view that we made using a non-linear workflow and move into a linear workflow. Because within the linear workflow, we're going to have a lot more control over automation and the whole effect of creating transitions and really making it into a complete song. So in order to transfer all that we've done inside of Session View here and pull that into Arrangement View, which we've briefly taking a look at it. Now we're going to look into a folder depth right now. So let's go ahead and talk about scenes right now. We have our scene setup on the first, second, third scene. Now, because we have a non-linear idea created on different scenes, we have the retro Drum Kit Idea on track one. On scene one, we have our 12 on scene 3, and then we have the base also on scene 3 as well. And then our lead for our Juno is on scene one. They're all on different levels and that's completely fine. What we can do is we can arrange it in the arrangement view. Now, there's really two ways of going about this. If you had one scene across the board up here and you want to just move that one scene, say we had seen one and that was our idea by itself. All you'd have to do is click and drag to Arrangement View. And then you can drop those clips directly into Arrangement View. And he could drag it over here to the first bar. And then you notice everything's grayed out because it's assuming that we're still working in Session View. So all we'd have to do is click this button. And then our idea would play back inside of arrangement view. And it only drag those clips as far as they were created and naked. And then he could drag these out further and loop them to make them longer. But because we have individual midi parts that we want to arrange on our own, we're going to Command Z to undo that and then press Tab to go back to Session View. What I wanna do is I really want to drag individual clips to the timeline in arrangement view one by one. That way we have more control over how we start the intro for our song and really build out the rest of our track. So what I think I wanna do is I want to start out with one of these clips and press the clip stop. And what I wanna do is just start auditioning what parts I want to come in first. I want to, I want to figure out how I want to start my interests. So let's just click Arp2 and see what that sounds like. And then bringing the drums here. Yeah, I really liked, I think I want to start with Arp2. Have the retro kit come in, and then the Juno lead come in for our intro. So let's drag each of those loops in individually, and let's just press or Eclipse up button here. First we'll drag in our p2, since that's going to be our first part. And you don't have to drag all the way over to the selector toggle. You can actually just press Tab and it'll bring it over to Arrangement View. And then we'll do the retro kit next, this tab. And we'll start that at the fifth bar. And then will eventually bring in the Juno lead, maybe at the eighth bar. Let's see. Okay, let's press this button to switch to Arrangement View. Now, you can actually close the browser out. We don't need it right now. Okay, so we have our first few clips in side of Arrangement View. Let's just delete this drum ideas track to clean things up. We'll open up the Juno lead part here. And now we're ready to start arranging. 12. Creating the Drop: All right, so now we're in arrangement view and we've got a couple of clips and we're ready to really start turning this into a full fledged song. Now, let's go ahead. We have our tracks laid out, everything's cleaned up. And now we can drag down on here, which is called the clip overview. And this is going to give us a better view of all of our tracks. And you can actually click in here and drag to move throughout the entire arrangement. So now what I wanna do is I just want to isolate this first part. And so I'm going to select the first clip and I can press Command L. And that's going to put the loop races around our clip. And you can see if I hit play. It's playing back our intro arc right here. If I drag it out. Now I don't want to do is, let's drag this out to bar nine. And then I want to loop the drum part or intro drum part. And then also the, the ARP that we have her intro. Let's play this back and see how it sounds. Yeah, like that. So it's drag this all the way out. Give the other RPS room, the Juno lead. And then let's just listen. We can drag this loop race here and then listen from the drum part. And then we'll let that play four times. And I think we can drop straight into our full fledged motif right after that with the other art and also our base pair as well. So now let's drag in those pieces of our song. Just press Tab to go back. And we still need our one and our bass part. So let's click first the art. Hold onto it, press tab and drop that in. We'll drop it in here. We're going to have to adjust that a little bit because we have like a little bit of a drop section that's going to come in between the intro part and that first. First or the after the drop section. Click the base tab, bringing the bass part in here. And then we can click these individual clips and then just click and Alt to copy these over. Do the same thing here. And with the AARP, let's see what it all sounds like together here. Yeah. Okay. So we got that intro part and then let's just zoom out a bit. And then if you need to like, make your tracks smaller because you're scrolling a lot or whatever it may be the case, you can always press all m minus and make those individual tracks smaller. And if you want to minimize them all at once, you can always make sure that your computer keyboard is turned off and just press H. And it's going to minimize your tracks a little bit there just to make it easier to navigate. So let's now work on the between part between the intro and the drop. And I think I want to use or utilize our retro drum kit and make a tom fill here. So let's double-click in here and automatically creates a Miniclip for us, as you can see right in this section. And we're just going to create a symbol tom fill. And then it's going to be 16th notes, as my guess, or maybe even a quick 16th into a 32. Press B to go to our drama. And then we can change divisions by pressing Command 1. Let's see what that sounds like. If we select the clip, it'll just play that part. Sounds a little crazy. So let's, let's first just drag all these clips. We can press this area right here on the first Arp command L. And then if we hit the loop race, we can actually just click the loop race and then drag these parts over. So then moves over and you'll see that it actually cut these individual clips right here. That's okay. We can just delete them for now and figure out what we're doing with them later. See what it's like when it Okay. Yeah, that that fill part doesn't really work too well. Let's delete these 16th notes. See what that's like. Now. It's going to play around with it until something Sounds good. I think we need another Tom. So I'm going to open up my browser and Command Option B. Go back to my samples folder here and drag that to the next cell. So if we double-click in here. Or attic still. See. Maybe if we switch this, Let's select it all and then reverse it suit. That's unlike. Yeah, that's not too bad. Let's, let's have the tempo. See you fast. That could work. It's Command L, That Dragon in. Oops, select the loop, race, drag it in. Hmm. Really, it just takes playing around with your mini parts until it sounds good for fills, where that's better. Okay. I kinda have something in my, in my head though that sounds a little differently. Like kinda like a little trill at the end. So let's change that back to 32. Yeah, something like that. Yeah. That's what I was that's what I was hearing in my head. So that's why this from the beginning and Let's close our browser. Yeah, that's that's kind of where I wanted to go. Let's add in a sweep just to build that intensity going into that intro drop. So go to my samples folder. I got a folder dedicated sweeps here. So here are a couple of years. Don't want anything super long. It's a medium sweep. That's a nice intensity. Let's try that one. So I can just drag the sample right into the arrangement and it automatically creates a new audio track. Let's drag down the volume on that clip a little bit. Maybe not quite that load stealing negative five. He knew a little bit more volume. And he has you can hear it. It sounds a little choppy, but it's because it warped our audio clip. And if I double-click into the audio clip, you can see that it warped it here. I'm going to de-select that. And then I can manually move this audio clip so that it doesn't get affected by the warping. And just press command so that I can line that up. All right, and then I also want like an impact on the other side of the drop to just accentuate the whole drop effect. So, so I got some down sweeps the bottom here. It's going to change the preview volume here. It's a little bit loud with somebody sweeps. Yeah, I like that one. I'm going to drag that in here and see what that sounds like by unsold it. And I would just want to see that sounds like yeah, I really like how that comes out. That effect is awesome. Just man, when you add transitionary sounds, I mean sweeps and down lifters. A really do make a huge, huge difference. All right, So I just press H again to minimize those tracks. Everything comes into view nicely. Let's give it a whole list and again, see where we're at. Yeah, that's really, really jiving well together, okay, now that we have a really nice arrangement going and we got an intro setup, we haven't got a little drop with some transitionary audio clips put into the mix. We're going to take a look at automation on. I'm gonna show you how to automate things on the timeline inside Arrangement view. 13. How to Automate FX: Okay, so now we have our intro and our drop, and then we created the a part. I want to create a b part for this project as well. And I want to drop our B part into a space where we can actually apply a filter to it and give it that, that feeling of change, that feeling of transition. So what I wanna do is just make sure everything is highlighted here with our loop race. And then I can press Command D to duplicate those tracks over. I want to remove the down lifter here. And let's just go and title these. Just keep everything straight and clear. It's a great practices reducer to really keep your tracks titled and organized. It will really help in the future for whenever you open this project again. So I'm just going to Command R and name this one down lifter or sweep can do either. And then this one, it's actually the reverse my undo that this one is up lifter. And then this one is down lifter. If you want, you can select both of them and command G to group them and just title them sweeps. Keep them tidy and locked away. It really doesn't matter. I typically like to keep everything at a bird's eye view at all times. Unless my track is really big, then I'll start getting into grouping. But now that we have that a section worked out, I want a B section. So I'm just going to select this shift, select the other part, Command L, and then I can hit the loop race and Command D so that we've got our B section. Now a cool thing that you can start working with in Ableton Live to start organizing your entire song is called locators and you can start dividing up the different parts of your song. So if I select the first bar here and then press this Set button, it creates one located there. I can click that locator, press Command R and just title this intro. Now, whenever I double-click that, it'll start playing back. And we can add different locators throughout the rest of our project. We'll just do drop here. Select it, Command R, tunnel that drop. We can select this part at another locator. We'll just title this a for part a and then do one more over here. Click Set again. Title this, be. Zoom out a little bit there. Okay, now we can click back at anytime to any of these. And then then here song back. Now if you want the changing or the launching of those locators to go quicker, you can always change that in your quantization menu here. And we can change this to 16 scene so it triggers faster and then move quickly throughout our project. Now, for this part B, I want to add some automation. And in order to do that, all we need to make sure is that we're off of keyboard mode here. And you can just do that by pressing M on your keyboard. Talk about on and off. With it off. We can get into automation by pressing a and you can see that all of our tracks go into it more dimmed looking state. Because now we're looking at automating parameters. So there's a specific device that I want to add to our Part B, and that's called Auto Filter. I'm going to press Command F and then automatically pops us into our finder inside the browser. And I'm going to type out auto filter and we see that it's right there. Also we had a pre saved to our collections under under effects here. And I can drag that out to my master channel. Because what I wanna do is I want the filter to close on the Part B section. So let's just play it back from part a and I want to show you That's the kind of effect I'm going for. I want it to happen on our B section. So what I'm gonna do is I'm going to right-click this frequency knob here and then click Show Automation. And then that automatically pops me into automating that specific parameter. If you look at the master track here, it says Auto Filter and it's set to frequency. That means we're editing just this knob right here. So let me close out of the browser and create some more space for us. So Option Command B, close that out. Like I said, I want this to start at part b, so I'm gonna zoom in a little bit here. And first of all, I'm just going to click in to create a little node. Let's drag it all the way up because we don't want it to be on first, so we don't want to hear as much of an effect at first you want to hear it gradually. Let's do halfway into part B. Click and drag down. And we can double-click to get rid of that node. And let's just hear what that sounds like. Also to weaken press Option on our keyboard and then click and drag to add what's called a logarithmic curve. And that's gonna give us a more subtle automation curve. So let's just hear this from. Oops, and then our loop braces on. So let's disengaged so that turn that off. Zoom out a little bit. Okay. Sounds pretty good. I want to drag this up a little bit. I don't want it to be as steep of an effect. And maybe change the resonance just a tad. That's the spike that you see in the cutoff of the filter here. Let's play that back. You just want to hear everything together. I'm going to press a on my keyboard to get out of automation and play it back here. Okay, I really like how that sounds, but also too, we need to remember it to disengage the Auto Filter until we get to part B. So I'm going to right-click on the activation button for that device and then click Show Automation. Now we can turn this off up until Part B. So our locator shows you that part B starts there. And then we can just drag this down, click to make another node and then create this sort of box effects. So that turns on right at part B. Then we won't have that resonance spike. The effects arrest to premix throughout until we get to that part. So you can see that device turns on right at part b. Okay, so that's how you use automation and create automation. And it works the same way with all different types of plugins and audio effects. I have to do is press a to get into automation. And then right-click the parameter that you want to automate. And then click Show Automation and you can edit it directly in the timeline inside of Ableton Live. 14. Auto Punch Recording Final Part: Okay, It's bring the song full circle and take that filter somewhere so that we can move into the next section of the song. Or we're gonna do is we're going to play with it arrangement a little bit. And while it's under the effect of the filter, we're going to remove some parts so that it starts moving on to the next part of the song. So if we play back part B and just start removing the Juno lead, and then maybe one of the RPS up here. We'll see what it sounds like as far as a transition goes and then bring it out a filter again. So let's play it back to deactivate. So we just move into one are our retro kick and the bass. And then right at the end, I want this filter to sweep backup. So let's move back to our master track and right-click filter Show Automation. And I think in the last two bars or so, I want to see it sweep back up. Maybe a little bit more than two bars here. Just see what this sounds like. Yeah, that's, that's the direction I want to go in and maybe add a curve to it a little bit. Let's see, that's on-site. Okay. So I think maybe that part goes on a little too long. Here altogether. Yeah, I like how the filter opens up. We can always delete time to see what it sounds like. So if we press a to get out automation, click and drag from this over here. And then if we go to Edit, there is delete time, which the keyboard shortcut for that is Shift Command. Delete. Let's see what that sounds like. If we go back to our animation. Just deleted time, That's a super useful keyboard. Sounds. Yeah, That makes a lot more sense. I like how that sounds. All right, so back to our master track. Make sure the filters all the way up there and bring down this curve just a little bit. Don't want it too steep. Yeah, that sounds good. Okay. So let's move on to the next part. We can drag out our kit. Just select option, drag, and do the same thing for the arm and the base. And then we'll create a new part. We're recording a new part into Arrangement View using the Juno lead here. So just like we did last time, we're going to engage the metronome. We already have count in turned down, which is good. It gives us some time to prepare before we play our part. Now we need to make sure that the keyboard mode is turned on. And then our track is armed here. And then I'm going to loop around this part. So just Command L and play with some different ideas here. Yeah, I like how that sounds. So let's record in and then turn off loop. What we can do is engage was called punch in. And we'll just hit this button right here. That way it'll only record once it hits this point starting at the loop race. And then same thing for this one so that it stops recording at that point. And then we can record in. Alright, so let's go and record something in. Awesome. So just recorded that little clip in here with that auto punch turned on. And if we double-click in here, can see our performance. I'm going to quantize S or Command a to select everything and then command you to quantize, and then nudge everything according to the 16th note grid. Let's play it back here. Yeah, I like how that sounds. Let's Command D to duplicate everything out and then just hear what it sounds like from the filter sweep part. Yeah, I really, really liked it sounds good. 15. Conclusion: He did it. He completely the class. And I just want to say I'm proud to be for going through all these videos and learning the basics and fundamentals of using able to live. It's not an easy program when he first started looking at it and you haven't had any experience with it at all anymore. If you do have experienced with it, it can still be tough sometimes. But I just wanted to say good job on finishing the class. And I hope you have a solid foundation of using this program. And not only that, but how to create a song and fleshed-out ideas in a way that's expedient. It's fun. And you're expressing yourself all the way. Also to, there is a discussion tab. So if you have any questions, be sure to reach out to me and I will get back to you with anything that I find useful or helpful for you. But yeah, until next time guys, piece.