Ableton Live - Produce a Whole song (MIDI, Vocal recording, Arrangement, Mixing, Mastering) | Liina Turtonen | Skillshare

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Ableton Live - Produce a Whole song (MIDI, Vocal recording, Arrangement, Mixing, Mastering)

teacher avatar Liina Turtonen, Music Production

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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

13 Lessons (1h 28m)
    • 1. Intro

    • 2. Introduction To The Session View

    • 3. MIDI & Virtual Instruments

    • 4. Audio & Recording (Setup & Equipment)

    • 5. (FX) Audio & MIDI Effects

    • 6. How To Use Return Tracks & Sends

    • 7. Arrange Your Song (In Session View)

    • 8. Record The Song From Session View To The Arrangement View

    • 9. Editing & Arrangement (Arrangement View)

    • 10. How To Use EQ (Equalizer)

    • 11. How To Use a Compressor

    • 12. Simple Ways To Master Your Track (And Make It Louder/Bigger)

    • 13. Exporting Your Track

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About This Class

If you have always wanted to learn music production, pressing buttons that make sound or create a track with your computer, then this class is for you! You can use any version of Live to learn and don't worry if you have never used Live before, as I will teach you everything you need to know so that you can get started! 

I know starting music production can be daunting as a complete beginner. But don't worry! This course is designed so, that you will learn the workflow of creating your own track/beat/song while learning the basic functions of Ableton Live. 

The aim of this course is to make you enjoy music-making with Ableton Live and give you a workflow, that you can then adapt to your own creative process. We will go through Session View's main features and how to use this unique space to pin down ideas and create MIDI/audio. I will show you the key equipment for recording, as well as give an explanation on how to install it all.

Then I will talk about the arrangement, as well as editing in arrangement view. This step is especially important for finishing your track and not getting stuck with small details. After we will look at effects and how to use effects with the return tracks. Super fun and easy way to start mixing your song! 

Finally, I will go through the concepts of EQ (Equalizer) and Compressor,  which are going to help you to mix the track and make it bigger and louder! And after I will show in a couple of easy steps how you can master the track and make it stand out of the mass! Then you can export the track and volá, you are done! 

Easy and you are now ready to use Ableton Live in your daily creation process! 

I am an experienced Ableton Live teacher and I have thaught this same content several times for many beginners, and it's never failed! The key thing is to just get started and I promise you, you'll never look back!


Meet Your Teacher

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Liina Turtonen

Music Production


Liina “LNA”  Turtonen is a music producer, songwriter, and performer based in York, UK. She is also the creator of an audio/production channel on YouTube called ‘LNA Does Audio Stuff’, which she hopes to inspire more girls and women to get into audio industries. After getting her Masters degree in Music production, from the University of York, freelance producer (as well as mixing and mastering), songwriter, sound designer, and electronic musician.

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1. Intro: Hi. My name is Lena. And welcome to this car's what I will teach you ableto live on a promise. If you go through these 13 10 steps that I will show you in these cars you will have a something that has different elements that has odio. I will show you how to record. I will show you how media works. I will show how FX works, how you can arrange on and organize your session so that it will be executed possible. I will also show you mixing I will show how e que works as well as compression on some ethics. And I think that everybody wants to know mastering I will show you super, super, super simple way Just make your track pop so that it will be amazing when you send it to people or when you put online. So, to be honest, it will cater the whole process from the beginning to the end on you will learn how to use able to live in the process. Sounds cool, right? Okay, let's get into this on the first lesson will all about the average menu That is the main you able to live 2. Introduction To The Session View: Okay. So first, what we're gonna be looking at is the arrangement view. So when you open able to live up, this is how it looks. So we have too many channels. We have two audio channels. So what we have So what is a Channel Channel is something that sound goes through through sound goes through this thing called Tranel. They can also be called tracks or, um, hell, I think there was other names as well, but usually what we I refer these tracks or channels, so we have to meaty tracks. We have two audio tracks on the right. We have to return tracks a reverb on, be a delay on on the right. We have a master track. So then we have these little little clips that look like little locker love. It's not markets. They look a little like empty slots. Yes, they are. Are clips on you? Camp it mid eclipse. You can put all your clips. You can bit all your samples, you can put full tracks. You can put anything you want into these little areas. So that's where we start creating things in. That's where we can play things. That's where we can activate. That's where we can arrange. We can build the whole truck it just by using these little areas here so you can see the As soon as I press one of them, you can see that there's this white line that appears so that is called a scene on In the end of the scene. In the master track, you can see numbers. So that is the number off the scene. We will be looking at scenes and how to use them later in this course. Otherwise, what we have in here is, if you go to the right corner like lower corner, you can see first as a button called I O. So that brings when we are looking at audio and how to record. That's the area that we need to look so that we can see all the different audio channels. Uh, then under that there's ISS on. That is sense for sense, and we will be looking at that when we are adding ethics into this whole channel to the session on. Then under that there's are on. That's the return track. So sends and returns. They are together. They work together under that there's em on. It stands for mixes. A mixer gives you old theaters that we will be using when were mixing the whole track. So where we have mixers, we can also pan left or right here anything that we want to. We also can activate the track or deactivate from the numbers under that. We can also so low, so we can only hear that one track. All we can record activate the track, which means that we can a record on the track. That is the basic stuff that we need to kind of look up in this view. Otherwise, there's couple other views that we are that are very important. So you see that this is there's this Caray plot on the bottom here, and that's where you will put all your FX that where you will put all this stuff for mixing compressors. E cause this is where you will put that on. Then there's another ving window that shows the clip. So it's the clip editing, so we will see many editing, audio editing, all that happens here. We will be looking at that later so you can change those two from the on the bottom here. Between those two windows on in the left lower corner, we can open the help window. It's actually so practical. So, uh, now if I hover, if this is open from the triangle and I hover over anything, it just shows a tell us what it is. So now as a beginner, that is something very important for you on Weaken. Then another really important window is this triangle here on that is the browser. So we can go and find instrument drums, any type of thing that we want to add. FX media fix everything we want to add through this. Andi On the top, you have the 10 Po. So we have the BPM. So on the click that responds to the tempo. So if I press play from this space on my keyboard Whoa, that's not and I go to the tempo and I roll it up. You can change the tempo from there. If I double click it, it will go back to 1 20 which is the basic, a basic basic bpm also. Then there's we have what other important things The time signature eso It's full, full set automatically, then here we have the play button polls puts in on record button. These buttons here are very important. Swell This one. Especially when we're in a session, you and we activate that one. We can record to any off these slots here. So in this point, I would recommend that you kind of get yourself comfortable. Just looking at Get yourself familiar lies. Familiar, Familiar lies Can't say that word. What is happening here? Open things. See what appears used the different buttons to close the open things, open the help window and harbor over things and just see what happens there. So do that. Now on, then come back to the next lesson where we start working with me d 3. MIDI & Virtual Instruments: Okay. Hi there. So welcome to the episode number two off this lesson. So today s So in this video, I will show you how to work with meaty how to Adam et instrument on how we can create a cool, mini, meaty, meaty tune by using our computer keyboard. Okay, so what is midi midi easa data. Mideast numbers. MIDI is instruction that will give to the computer to make certain sounds in a certain area off certain time. So that is really just the basics off midi. Uh, when you open able to live, you have to meaty tracks already there on. We have two audio tracks. So now we will be working with the meaty track. Yes, we are. So how we can add a new media instrument is that you go to the pros and we know that we were went through in the last video. You open that up from the square on from there, you go to under categories. It says instruments. So instruments on. Then from there, you can see that there's a massive selection or maybe not a message selection, because it depends what version off live you are working in. So example, I am working in a able to live sweet, so sweet has a lot of different instruments there. So, as you can see, so don't you worry. You can work with any kind of instruments that is under the instrument title. Okay, so I could just go to instrument track because that is in most off the versions. So we open up that from the square there, I can go to let's just put a piano keys on then Now you can see under the square piano keys when I press that you can see that now there's a lot of different options and how I can just scroll through all these options is I press one and I go down with own mind. Oh, my keyboard with the our down on when I find a sound that I really like I can now because this meaty track is selected. I could just double click this and it will go to the meaty track, or I can drag and drop it. So when I double click it, but there it is, or I can take another one to the other one on drag and drop it to that track and now I have to meaty tracks that both have a instrument. So that's why some was saying last in The last lesson is that now you can see on this view where says audio FX, drop audio FX here. That's where also the instruments are going. So you can see this is the instrument on its on this track. Okay, this is the instrument and its on this trip. Cool. You're with me. Great on this is where you can control the tone. And how does the instrument's sound? How What can emotion. How do you want to bid? Rework? There's different things that you can do to make that e instruments to sound different. Okay, so let's just make no some a tune. We were talking about this little clips in the session of you. So now we can actually put some sound in there by using our computer keyboard. The important thing is, what you can see here is I want to work for with this number one track. But I cannot now record anything because the recorder, this track, which is the number to track, is recording abled. So is this red button here? So so that I can add some sound into the track number one. I need to actually record able the number Track number one from these buttons of returns noise and red. And now you can see that these here are not squares animal. But there are circles, and that's what we want to add. H A thing here. A sound, a song. We need to double click. Put one off this slots. Okay, let's do that. Well, I just double clicked it on. Here we go. I can, by the way, make this real bigger and smaller just by going to hear hovering. All right, so I get this mart on, I just can lift it up. Okay, So how to create a two now? So this couple ways to do that? I will show you, uh, two ways to do that. First, we can go to the top right corner here. We can take the pen tool, and we can share start drawing painting. Intending the now we have a tune. I don't know if it's any good, but we have a two to be able to hear that I need to go and press the play button on the clip. Not very good. Okay, let's create another tune. That might be more interesting. What I do is that I highlight all the clips, press delete, and now I have an empty clip off course. I could just go under this clip on double click it again so that I create another clip. Okay, let's show you the number two way the second way off, creating a clip. So I'm gonna go on. I want to create two bars, not just one bar, because automatically, when you double click that, it will create one bar. I'm gonna go here. And where it says length, I'm gonna click that area. Type two and press enter on its become number two on now. The Spar is to Barcelona. Okay, To be able to record into that view, I need to just go to the top bar here on where it says circle. It will start now record to this on. How could I play into it? Well, I need to make sure first, that this keyboard logo up on the top right corner is activated its yellow so amuse it's activated. And now, on my computer keyboard for a to L will be piano keyboard, Believe it or no. So I press a now I press g still not good. But you know, I mean, is that now with my computer keyboard, I can actually play into the sample. So that was two ways to create mini Super easy on if I want to just cancel what I just did create a new one I distressed, Command said. As we learned in other other session last session like that, I go here, press that circle again, or if I want to play in tempo, I go to the top bar, Activate the click, go to the CEO Way. There we go. We have now a sample we have now. So the start of a song and if you if you didn't get it right if you didn't get it in time, correct time. If you didn't play correctly, don't you worry. Highlight all the notes. Double click on any empty area on the clip, editing you right click or two finger brick. Go to these menu, and from there go and find a thing called quantity. Size one ties, quantities. I think that's the pronunciation Kwan ties and what happened? All the clips went on time. In the next lesson, I will teach you about recording and Odier channels 4. Audio & Recording (Setup & Equipment): Hi. Welcome back. And now we will be talking about Odio on how to record audio And how does the whole thing work? Okay, here's me explaining everything that you need for recording all the equipment, all that stuff. Yeah. Okay, so recording vocals. So we need some stuff for that's and one of these are microphone, so I have to microphones. Here's I have the dynamic microphone that looks like this is a really traditional microphone that you see around on. Then you have this microphone that is a condenser microphone on these ones are the ones that you usually see in the studios and what both bucket. So both are OK for recording. But this one is, for example, really good for like, performance sees on a stage because it really cancel, ate everything else that happens in the room and really just gets like the sound that is really close here, where this one is really sensitive and it picks off everything like everything that is around it will pick up. And also don't ever hold these in your hand because it will make some horrible on this one that you can hold in a hand because it will not take up this sound easily, but in the studio recordings always put the microphone in a cent. So here I have as that on I have this thing called Mount. So this is called microphone mounds on its for condoms and microphones on. I just put that in there like this. Then the next thing you need the XLR cable, which is the microphone cable, which looks like this. So it has three pin connection. So three pins here on, then three holes there and you just put that microphone cable into the microphone on the other end goes into your interface so that you can actually record good quality Odio. You do need to have one of thes so it's called Interface and what you have here is two channels on. We will just put then microphone cable to the channel number one like that. Then, in able to live, we will correct place into able to live on. The sound will go from here all the weight here and we need to just make sure that the volume is turned on not too full, but maybe about half way. You need to see that this doesn't turn red. So that button around here example turns red or your interface might have another type of way of showing it. It's peaking, so picking means that it's too loud, basically on. If it's a condenser microphone, you also need to press the button that says 48 v on what that means is find some power. So concept condenser microphones do need another type of power to power them up because they don't do it by themselves. Dynamic microphones don't need funding power on. Then you connect the interface from the USB port into your laptop to the U. S. B port. Nowadays, most of the computers do recognize that interfaces by themselves, so you usually don't need to do much work to actually connect this to your door and door is the digital audio workstation, which is able to life. But there might be some issues, so you need to have a look at their requirements off your computer interface doesn't need a driver, or is there anything that it needs? But usually example? Mac books don't need anything. You just connected with a USB cable into the USB ports. Mullah, it's there, and now I will show you in ableto live how you will connect everything and how you can record the audio. Also, while recording remained that you wear headphones. So example I have head twelves that has a big jack So a bigger, uh And in here it has an adductor on this small jack insight like that on now because I'm using the interface, I need to connect the headphones to the output, the headphone output in the interface note to the computer. And then when I record example vocals, I need to wear the headphones so that there's no sound in the room other than the boys that are making me my money. Also, if you do have a chat, then use one of thes two bit that in front of the microphone when you are singing just because these ones will catch all the pups and essays and all the nasty sounds that you don't want to go into the microphone. What's happening? Losing what was Okay, welcome back. And now when you have everything set up now we can go back to able to live session that we be working on and we can set up the interface first things. First we need to go up in life preference sees. And from there audio input device on all your open device needs to be where you have the interface name. So example, my interface is called Scarlet to try to use be interface. What is yours? Cold. So if you have a scarlet example, you will see it in this drop down menu. It will appear as soon as he you plug in the USB cable. So that is something that you need to do when you are recording. Make sure that your buffer size is as low as possible without your computer going completely crazy on when you have done recording. So, by the way, that will reduce all the Layton's issues you might have on. Then, when you are mixing when you're doing the production, then you can actually put the sample buffer size much more higher because, you know, like when your computer might go like dee dee dee dee dee cannot. Prose is everything. Then you need to go to the higher sample right to be able to process all the section much better. So all I am now in, I'm gonna go to that Okay, let's get out of there. We have such it up. Now we go to an audio channel, shall we? Okay, so first things first again record. Activate the track. That's what we need to do to record. Activate it. And then after that, with just easy peasy. We need to go on, find the channel. We need to go and find the channel. So are you blocked in? Is the XLR cable in show No one on your interface or channel tune interface? If you have more of the channels on your interface than to because I have just two in my interface, then you might have more numbers here. Otherwise, we need to go back here if you cannot see those. If they're not abled, we need to go back to Preferences on. You need to go input configuration from this button here on then activated from this button . Here. There we go. Need to make sure that those are activated on. I'll put configuration. Make sure that these are activated as well. Fun fact, By the way, you can also rename them, so I didn't rename them to these. Okay, cool. Now my general is cold per pairs on Channel two is cold couples. So you can put example. That's what guitar, That's the base. That's the vocals, you know. You know where everything is. So example, my microphone now is is connected to channel cheer, which is Apple. So I'm gonna just activate it here. You can see that there's a now in number two, there's a little bit of green appearing there. That means that the single is coming through, which is great. So now another thing. We need to have a live it here. Is that these off out in what? All day? They're actually input monitoring. So that means what can we hear from the speakers when the microphone is activated right now ? Because it's off. We cannot hear anything. If we put Oto, we can hear it there we dio But when he's recording, we cannot hear it. Okay, so, uh, and then in is that we can hear it constantly that constantly when its own weaken here. Okay, so now example. What we can do is just press from one of these circles exactly the same thing, and we did last time. But now we cannot just double click off these empty slots. We need to actually go here. Do these circles that appear when their truck is record activated on we press from there? And what was the mistake? I did? There Don't do that at home. Is that I didn't not have headphones on and you could hear everything in here. So you will have a lot of you will hear the click. You will hear what I actually saying. You will hear everything in the microphones are always have headphones on. Don't do that. Mistake. I just wanted to demonstrate You don't usually do it that way. What? What you have now, see is that now I'm just gonna put that off. Now what's happening when I example double click that you see the media on the bottom off the screen. When I go here, you will now see the rodeo on the bottom of the screen. Yea. So one thing I want to do now is make sure that I have activated warp mode, so that allows me to do so many things. But one of the things especially is if I increase the tempo off the project, the tempo off the sample also increases it. So If you don't want it to increase, then just don't warp it. But what working also allows me to do is now crop, which means that I can tidy and make the sample short as short as I wanted to be. So I want it to be too, boss. Okay, so I make sure that that's walked there. I also make sure it's looped because I wanted loop it looping when I activated on. Then I'm gonna go to this Bother is now green. Take that on. Take that coarser to that point where I want to start where I want this song to start from . Now if I activate the clip from the play button on the clip way Oh, so now on the other end, you can see that it's bit too much dick bit too far, so I'm just gonna bring it a little bit there. So now it's a weird length. It's like three and three. You can see the length here, so I just want to make it too. So I'm gonna bring that in now It's three on. Let's bring a little bit more. There we go now it's too. So let's say that's that length I wanted to be in now I can just right click it or duct to finger. Click on I go here and find crops Sample Pedo we have now a sample. That is the length that we wanted to be its two bars. How does that work with the thing that we did before the little I'm gonna delete that. OK, in the next lesson What we will be learning is FX. How does FX work? How do you f expert? How do we add them? Where do we at that? That's what you will learn in the next list. 5. (FX) Audio & MIDI Effects : Okay. Hi. Welcome back, Teoh Lessons. So this less lessons? So this lesson is all about FX. So how can we add ethics into able to my obsession? How can we just spice it up a little bit on make it look and so a little bit more interesting? So I have a little tune here that I have created nothing too interesting. But with FX, we can actually make it much more interesting. Okay, so how do we do that? Is that we need to go to the browser window on under there. You have audio effects on you have media ethics, so audio effects you can use for both meaty at Odier trips. I know it says audio midi separately. But odio, you can use for both audio on me again. If you use different versions off able to live, you will have different collection off different FX in there. So you might not have all the ones that I'm showing you today. But you can just explore I please. After this lesson, just go through all the effects you have. Get familiar. A lot familiar Liszt with again. I can't say that. Word on. Just make sure that you understand. What do they do? What kind of eggs all day? Because then when you're creating, it's so fast, you just go like, Oh, that one was fun. Okay, so audio effects again. Exactly the same thing that with the instruments, if you have a track highlighted selected, you can just double click one of the FX, and it will go to the track. Otherwise, you can just drag and drop it to the track. Us. Well, also, we were told me about the two different windows before, so you can go between the two different windows from here on, if I go to this window that says drop audio FX here. So that was from the bottom here. I can now go and selection effect like a delay. First there, like a delay. I go to the delay on from the little triangle again. I can go and find presets. So in this point, if your starter presets are absolutely amazing, because you can just find so example Vintage delay. Yes, please flutter. Yeah, Let's try that. So I have this track that sounds like this. That is kind of like a basis sound. A long note I have that they're OK. I just have it selected by double. Click this and it will go next to the instrument on this area. So let's have a listen. How that sounds more, much more interesting already. So most of the blood King's most of the FX do have a dry, wet control. So that means how much effect do you want to add to the track? Super not. They also have different options. There's so many different options in every single plugging. So if you don't know what they mean in this point, just keep on pressing buttons. Something cool might happen and you might like it. So just keep on kind of family, family, her fertilizing. I've really cancer practicing what everything does on you will kind of get the hang of it on, see what things do. Example. Ping Pong Ping Pong means that the delay goes first in that speaker than that speaking. Then that speaker left by reckless red blue left right, that's really cool. Okay, so that what that is, what these dupes. So there's a lot of cool one of my some of my favorite FX are example delays definitely for everything It just makes things some really interesting reverb. Um, then maybe a flan plunger chorus auto filter? Definitely. So there's a lot of, um, simulations that those are really cools, that they make different amps. So that's example. Base one. There will be, Oh, so I can add distortion and stuff like that just by adding that also this arrangement so I can drag from the top off the blooding Aiken drag the place of it so it will make it sound different. It can sound if this one of the flutter one is on the right on the AMP is on the left. It can sound different when they're on on the other side, like other way around. So that will affect the sound. A swell guy. I'm going to stay on the same one, the long notes on I'm going to go there on add for many FX Now. This time I'm gonna go and add a Prejean later. So meaty it works only for media. It doesn't work for audio. Make sure that pretty ager and appreciate it is so funny. So if that plucking is on, it sounds like this. If it's off sounds noble, so with appropriators I can example, create different rhythms. I can make that the stranger things tuned So so example Up and down from style on their steps three steps on, then the rates already much more interesting thes ones. You cannot change the place for them. They need to be in front before the instrument on these lines. So that is how you add meaty FX and audio FX to your track. Have fun with those. Try them out. Honestly, between these lesson and the next lesson, have a try. Just get into the FX that you have tried what they do at them to the stuff you already done on. Have fun. OK, si unit. Next listen. 6. How To Use Return Tracks & Sends: Okay, so this lesson is all about return track. So we've Bean seen them here before. We haven't really talked about them. Why are they So we talked about FX in the last lesson. So in this listen, we will talk about reverb and delay, but using them in return tracks. So what? Return tracks are basically are their own channels that we can put example on effect like a reverb on. And then we can instead of putting a reverb to every single, the actual plugging into every single, different track, we can actually dispute it on the one tracks on a return track on. Then we can send it to all the tracks we want. So it's on on one track and it goes too many off the other tracks. And we can just send it like two little bit to their vocals, a little bit to the drums, a little bit of their little bit of that on. That's how we can avoid off confusing the computer in the first place because you're not having like five different rebirths trying to work in the same time. But we have one reverb, and it's on one return drag on. We just spread the love to all the other trucks. Also, reverb. You can use it as an effect, but reverb. It's more of a it's it's space. So you wouldn't maybe possibly example, used five different sounds off the space over a room with a one track because the band is maybe in just one space. So just think. How do how do you want to use reverb? It's just about practice, to be honest, Um, OK, so how do they work? So when you know, been able to live automatically? There is two traps there. There's a return tracks. There's a river be delay. Okay, so the return tracks already have two blood things on them. We want to create an M to return drug. That's absolutely fine. Either you can just delete example the reworked. From there on, you can see now that return structure says a return Corman's it, and I just bring the return air Beaver back Or I can do the whole right right click DoubleClick to this anti space on There is another option. Insert return truck, and now you can see we have a B and C on what happened here. on the tracks. Now there is also a B and C, so let's see how what happens. I just delete that. See, for this far on, let's just work with the reverb and delay now. So we have this little piece here. Let's add some reverb on some delay to it. So I need to go to this A here and that is the river of sorts is a okay. A means a return truck, a reverb. Does that make sense? So I always like thinking about these as almost like doors. How much do you want to open the door to release the sound into another place? So let's play this on. I will start opening that up. We will release some real reverb into this truck way so you can just open it up completely and you hear that there's a load of reverb in there, or you can just open it up just a little bit on. Then let's add some delay. There we go. Now we have A and B so a and B both on that truck, and now I can add the same reverb on saying delay to this truck here without adding the other track without actually dragging another blogging in. So let's try that. Never quite nice. So I used this rebirth on both off the tracks by just opening the air up. And I use this delay off both drugs just opening the beat up. And that's how easy is it it is. So if I wanted to create another one, I just add a new return track. The where I showed you. There's a new one. The sea has appeared. I go to the audio FX on example at it. Chorus. There we go. A lot of it. I open up the sea e. I don't want that much. And that's how you use a return attracts Clear, please. Now, after this lesson, please have a try on the samples you already used. How does it work? Are you happy with it? Do the work. Just add a return track used that firstly used A and B that are already there. Then add a new return drag out of effect. Try. How does that sound on? And spread the love to all the other tracks and see how did it? How does it sound with many different trucks? See, in the next episode 7. Arrange Your Song (In Session View): Okay, so I have the sound that I've created. So it's quite a flow. It's quite yeah, it's It's there's not much like big drums or anything. I just have three, uh, three clips and no, I'm gonna create something out of it, and I will show you again. So we talked first. We talked previously in the first lesson about seeds. So now we're gonna use these scenes as our way in these view to organize and arrange this whole song. OK, so, um first, I want you think, How does my so start with but material? So which one of the clips example Which just one clip would I like to start it with On That is the clip I will put on the first row. So number one row will be the intro. The first beginning off the sun. So example, Could it be this one? So could it be this one example? No, I don't like that one. So I feel I will start with the yellow one. You just one note. So then after a while, I want maybe faded in in this point, I started already visualizing my head How how the song is going to sound, So maybe that one comes first. Then I just copy paste comments. See on also, go to the area below it. Paste it in there, Command V. There we go. So I think the next section section off the sun will be this yellow on purple together. So first yellow on there we're gonna go to the second section on I go to the scenes of the master on I go to this second scene on I go to the play button on the second scene, So that is the second part of the song. So let's say like a verse example, then I think, OK, what comes after that? Maybe that's course comes after that. I copy paste copy and pays the yellow again. Now number three East The chorus. I'd also take the purple one, Uncle Pete, Pace that to number three as well. So now I have a intro, verse and course. Okay, so let's try from going from worst. Of course. You maybe play a couple times. Okay, wait. I'm now. We're gonna go to the second worst so I could take the blue, but that they're on the purple there. So we go from the chorus three second burst. There's quite a strict booth and then I could just go here to the third, which is the cores on I go rise, Click that with all the true finger click on Then I can just go on duplicated So now I can drag and drop it After the second verse on Now we have intro. We have verse, chorus, second verse, encores again. I want to make it even more clear for you. We can just go to the scene Woman are and we can rename it Intro equipment are 1st 1 woman are course one verse two I'm chorus that we have an arrangement. We have a song idea. We have a kind of sketchy now, might how this is gonna sound on just by using three samples. I was getting like that. Three samples. Okay, so the next step off arrangement is creating variations. So, example, will the same second cars be different than the first course? While it might be because what I could do is create a variation. So I go on to the Pollux one. I double click that and I open up these media editing window So now I can create a variation off What? I already have so example. I could go here on just at a couple notes into the session, so it's not gonna be same. What, Second time around, you can also get really crazy with it. I could maybe lower these up. Theo thing sounds almost like a sea part. So I just created Seaport. So then I rename it from there. Maybe I duplicate the cars again that they're rename it course to. And then now we have a C part that I just created because I was creating variations, duplicate the cores again, but that after the sea part on, then named that course three. So now, actually, by creating variations, I created a whole new section on You can just create variations. Example intricate selling different down the verse chorus, verse, You know, like you have the same sample repeating itself, but it doesn't need to be the same in every single section. You could just double click it. You can go and manipulate the sample and create completely different thing out of it on. We're going closer to becoming on, actually to actually have a whole song on in the next session. Next lesson. Session lesson. I will show you how we can take this from the session view to arrangement view which we haven't looked at yet. Which is the more leaner, more normal, normal, uh, more traditional view off music editing software. So see you in there. 8. Record The Song From Session View To The Arrangement View: Okay, so now in this lesson, we will be looking how we can get from this view into this view. So then we can start to work on the song in more leaner way. Okay, The first things first. So we need to talk about playing so activating clips and stopping clips. All right, so we've been already activated clips by pressing the play button on the clips separately or on from the scenes. Yeah, but how do we stop them? So example, Or activate that one there. That one. Then that one then. So I have now all these clips playing. There's a couple ways to stop them. I could stop them individually, but under that samples, you can see there's square. I just clear from there and it stops the samples. All the samples in this track. Why, that's But if I want to stop them all same time so that say this Verse two is playing. I can go. I can go to the master track here, impressed that square, and he will stop all the clips. But if I do that, what happens with General Play Button? Let's have a look. E. I stopped them from here. But what happens with the general play button? It's thes still keeps on going. So it's a different thing to activate this play button a stop button that activating and stopping the clips. That's a two different things. So these are on the actual the whole session when these are just the individual clips. Okay, then we're gonna go. You can just click tub on your keyboard. You can go between these two pages or you go to the top right corner on. There's the two different logos off the to which is also able to live logo like this, the two different views. Okay, so we need to go to select the area in the arrangement view where we want to actually put where we want the recording start from. So I picks just number one on the beginning off the whole track like it. So let's go here. And now, in this point, before we start recording, just make sure that you have the arrangement in their range that in the area that you have decided, OK, I'm gonna have intra foes than words cars. So you have the arrangement in your mind. You can also go on just practice. So how many times you want this to come in? When do you want to go back to when you want to move into? Worse. Now, you know, just practice in your mind. Just practice a home practice in your studio. Wet. In what point do you want these different sections to come in? Okay, so we go and zero everything. We have picked the area in arrangement view where we start to want to start to record, everything is zeroed. And now we're gonna go into the main recording button on the top press There it's red, the play button, his own. Everything's on. And now we start to perform the performance of our lives on. We're gonna record it. It's recording while we do. Okay, so I start playing exactly aside Practiced. These comes first way go to verse eighties. This is like E could hear something like their weeks on the way to chorus way First e Want to hear something? Drugs in this on in chorus way, the whole thing, because way go. So you saw that I played through exactly as I have planned in here in traverse cores. Worse course. So I click the top on we go here and Viola, what you can see in front of you is now your song recorded into arrangement. You, which allows then to us to finish mics are edit to just kind of finish up the whole song that we started in the session. So okay, and how we can go and activate this looks gray. Why does it look crate? It's because these window is still activated. You see that these buttons are active. So what we need to do is go to this red button here and activate this window. So when we go here, you see that those bottles are not active in it anymore. But we have this view activated now, and it's ready for editing for creating the whole arrangement out of this. OK, so in the next lesson, I will show you how to, uh, Quake do tips, how to create much more interesting thing out of what you have in front of you now and then we go to mixing and mastering and then their stuff 9. Editing & Arrangement (Arrangement View): Okay, So we are now. We've gone through a lot of stuff. So now we are in this arrangement view. We have a song in front of us. What do we do now? What do we do? So now what we do is we hear can hurt use couple techniques that create really interesting arrangement out of this. So first things first. I just want to make sure that everything all the sections are the same length. So example I have that is eight bars, that is eight bars. So how where can I see it is that when I highlight an area, I go to the bottom end where it says on the end off the whole screen it says length eight And that is the length off Theis blue area that I have selected. So I just go around and I just make sure that all the sections are eight like a Oh, that's big too much. So there's a little area there that is too much so excess area. So I'm just gonna highlight all that press delete. And now I have the legal area deleted from there. So everything's is eight perfection. Okay, Couple things first deleting time, adding time. Okay, that's what one of my favorite things when we are creating any type of arrangement. So let's say we have example this second verse here, let's say I don't want it to be eight bars. I want to be double more. So what I do is that I highlight the area, the time area that I want to double. So it doesn't mean that I just need to select a sample. No, it's just area off time. So I highlight like this, you know, that is time area. So is that blue area that I can highlight on. What I do is that I go to edit. I hope I go to edit. There we go. I go duplicate time and look what happens. So it pushes everything after it forward to art. That little section there, so example, to add variation, I could just delete that. So we have on Lee the base in the beginning and then this thing starts after eight boss. So already I added a longer bits with eight bars or variation and then eight bars open was originally that super fast, and you can do it same way we can if we want to get rid of this area. I highlight that area. I go here at it on delete time. Villa on now it kind of pushes back, not pushes. It pulls back everything after a so I don't need to go and, like, move that around and then duplicate that area. No, I can just literally highlight the area I want to duplicate on it. Will, at the time there. Okay, other things, a couple other things to make it more interesting is gaps. So gaps in time actually give you so much stuff like they're so great. Especially if you have drums. So I'm gonna actually add drums to this. I'm gonna go to samples and put beat. This is not gonna fit at sold assault off that whole some. But I'm just gonna add that there. Okay, I'm gonna go to that yet. By the way, this Escude to learn, I'm gonna go to the top bar off the sample and I When I drag it like this, it will loop it to be able to move it. You need to make sure that the blue button is activated there. Quite that. So that's listen hold that sound. Why don't you break? That actually works. I don't know. So take that, William, down from those little bit. Okay, so the gap. So I was told you about them. Okay, so we have this country that is getting kind of growing, growing, growing. I'm gonna add it all to filter there in a moment to kind of make it grow a little bit more . That's another arrangement thing. Uh, I want to add a little gap here. Maybe quite big gap for the drums. So I just highlight the area presently until it says Litt deletes its on, then here. I'm gonna add a little bit off gap there. So now there's a little drop before this element comes in on that already makes a massive difference. It just came to your impact. I think that was too big s I'm just like that so much further on. Then I could just copy place playthings around. Here's I just press Could be pays on a select That clip. There I go here. Select where I wanted to put put it on Copy on comment. V and I paste that area that I think so. Then there's a big drop here. I don't have any drums there. I'm just want to keep it simple that they're one point. There's actually area where I removed the whole low end off the song. So these things are already massive. It just makes it so much more interesting so much faster. On the next tip I show you is one thing that even if you have a simple session as possible , also filter make will make things much more interesting. So you go to the browser window or your FX on old to filter. So I'm gonna add it to this long note. Do note. I'm gonna just double click that so that it goes to the track that I hade selected. Okay, To add I to the altar filter, I need to actually automate it. Automation means that the computer does. Something automatically changes a certain para meter automatically without me doing it manually. I will show how that works. So there's this button free conceit in the auto filter that I want to change because it will make the feeling off something going growing on. That's what we want to the beginning. So it sells a mumble Do you know, that's that's something that we want to use. I could use it to all these different instruments in this arrangement just to create that kind of movement into the song. So it's automatically so much more interesting. And how we do that is that I need to make sure that I've clicked that all to fill this frequency button in the altar filter blogging. And I go to here where it shows that, like, two balls that has a like a little thing between on I click that and it shows this window that has these red stripes. Okay, Now I need to make sure that I have clicked the frequency that it has this little practice around it Course what happens is as soon as I click that you see on the track, it says now ought to filter of frequency. So this red line is now changing this per meter. I will show you how that works. So I go here, I add a little dots. I click on the red line once there gonna zoom in a little bit, and then I'm gonna go to this and and I'm gonna low click it again. And then lower it down. So what happens is that when you look at the altar filter while I do that, the filter goes up and down. So I wanted to go from Doane to up when I when it's growing. So what you can see now is that when I have done the automation, it will start. It'll sound so much better way. So let's I could actually copy paste copy and paste the same filter to the drum. So I went to the drum track. I press comment V and I copy paste it to the audio FX off that. So now the same automation is copied to the drums and swell. So let's listen how that sounds sounds so much cooler, honestly. So just use all the filter for everything. Just spring things up. Bring things down. Just add movement. Okay, so that was the arrangement tips for you. So in the next listener will show you how to e key things and what e que is explain what it is. And the week on first things that we muster things and then we expert that set then that so beast 10. How To Use EQ (Equalizer): Okay, so welcome to this lesson. And then this lesson I will show you what to e cues and how to use e que So Okay, so we have drums we have faced in this session. Those two things are the things that definitely needs some e curing on what e que is. Well, let's just prefers Let's just add an e Q to the drums shall way. So we go to the browser, we goto audio effects on from here. I want to select e Q eight to demonstrate you what it is. There we go. Let's at it. There are now I'm just gonna double click this dark area here just to kind of primitive art . Show what? The queues? Because it looks better there. Okay, so when I press play on the drums, I so ledger grams, I press play. I start to see things different like gray things jumping around. What are they? Their frequencies. So what ICO iki does is that we can mold them frequencies. We can mold the sound. So the low sounds, the middle sounds with high sounds off the actual sound so that we are not crossing too many off them together. So when you have a song that has a lot of different instruments, you have a lot of sound going around. So you have a lo lot of low frequencies. Lud of Meat. Friedkin's is a lot of high frequencies. So with this one, we can actually cut some of the meat once some of the low ones, all the unnecessary frequencies that don't really mother, that's all. So then, when you cut from one instrument, it will leave space for another instrument. That what that is, basically, what it does that's so simple. So let's pit some Ikuo on this so example the drums. You see these little numbers there? 123 So these help us control what to cut, what to add. It's better to caught first with before adding anything so drugs, human ear can't hear anything on the 20 Hertz. So basically anything around here we can basically already caught. So what? I like doing. Even with the drums, it's just out this kind of so from the first perimeter, which is that one there. I activate that I could go to this list and it allows me to show all the different ways off cutting or adding stuff. So that one is the most devious one. So I go to where the it says 20. So I'm looking at this window here while I do it. I go to 20. Hertz called Everything under that Nothing changed. You can't hear it. You can hear that. I caught all that, okay. And then I want the kind of kick area, which is 110 hers around there. I want that to be bear little bit higher, so I'm gonna go and change the number two. So it's this one here on, then here. I need to change the queue. Is that the with off the para me to the I'm changing. So that gain is how much we add or cuts frequency is where do we cut on cue is how much are we cutting? So example with Q, I could just add a little bit like that around 100 because he's drums. E ask that kind of cake to it. Yes, because it's drones. We don't really need any mid frequencies are high frequency too much. So I'm gonna caught a little bit from the middle there like that. Okay, So let's see how that sounds with the base. So I solo both of the bass and the drums So when I play them together a little bit off the sound of the bass and the drums disappeared So I need to e que the basis Well, so I'm gonna go here, select to track, go to the browser audio FX E Q eight. Now you know what happens here. So they're sharing quite a lot of similar frequencies. There's not much happening under one under 100 hers. So I'm just gonna go and caught that anyway, So we leave space for that for the air, for the drugs way. Highlight. Maybe a little bit off. They're not 100 because we highlight that 100 in the drums like that. Maybe down a little bit from the mid frequencies. So it's just a little bit off separation. If you have 100 in kicks in the drums, then don't pick one hundreds on the base. Maybe, but 200. So they're in a different locations off this song. So then, but what I would recommend for you to do is that Google frequency, uh, instrument frequency map and you will see a lot of different frequency maps that show where in the frequency range all the instruments. Locate so example vocals, male vocals around 203 100 hertz on day 23 K uh, guitar. About 203 104 100 on about four and five. So there's so many like you need to just find and learn where does all the instruments where does all the vocals, all those plays in the frequency range. So then you don't cut from there But you cut from all the other instruments so that those in those instruments get high highlighted on they sound. Does that make sense? Hopefully, that makes sense. I could actually add to the resource is off this lesson one of those iki maps so you can go and have a look that's unlearn. Where to cut on where to highlight. Okay, Next, I will teach compression in the next listen 11. How To Use a Compressor: Okay, So in this lesson, I will show you hard compression. How does compression work, Andi? Yet? What is compression? So let's add compression to the drums, because we want them to be a bit more and then Okay, so, compression we go, We select that audio, the track that we want to bid them in, which is the drops on. I'm gonna go to the browser. I'm gonna audio effects. And from there, See? See. See? Compressor double click. It goes to the track. I just decided. Okay, Andi, there we go. So what I want to do is actually go to thes view here. So there's 23 different musics that you that you on that. So I want to go to the last few. Because what it will show is how much compression were added. What is compression? Compression is something a tool that, uh, reduces the dynamic range between the highest peak off the sound on the lowest peak of the sub. So if this is the highest peak like that, then we will do like that. So we're kind of praying ing we're reducing the dynamic range between those two peaks on what it does is that it makes the sounds more Seymour present. It makes it more front, more like more present in your mix. Example. That's why we compress vocals a lot because we want to prove them forward. We might want to make them more d amore stronger and sound more more present on the front, off the whole mix. We want to compress cakes and drums because we want to make them more more attack more, more deeper, more beef here. That's why we compress things. So how do you use compression? This most important things are ratio ratio means how much compression, albeit How much compression are we adding after dress hold and tresh hold, Which is in this view, is this one here? That is where does where does the compressions thoughts? So example. If I go to this view here, you can see that moving the tresh hold up and down. It will change the place off where the compression is starting. So example we put it there minus 2190 B. Then we add the ratio You can see that ratio is kind of going like that after the threshold . So that's how much are we adding attack is how fast is the compression Reacting after dress ? Hold on Releases. How fast is it coming back after After the threshold. So it kind of goes like So you can all see that in these for you When we start playing so really good, I'm gonna show you, uh, how there's so many different ways to do compression. But I'm going to show you a one way to do it. So we go to this for you so we can see the sound way White goes by. I played press play. You can see that now. Here. So we have tresh hold. You can see it here, or we can go back here and you see, that threshold is in minus 21.9 dp. So it's quite low and it's going on. That yellow line is the compression. That is the dynamic reduction. Okay, So easy way of the compression is that we can now, uh, ratio. So if we make ratio hoya, use that you see, you see, that yellow line goes deeper, so it goes lower. So means that we have reducing the dynamic range. Much more gain reduction is hires, and we reduce the gain on, which means that we're refusing to dynamic range. So we change the attack to really, really slow. You see that the reaction time is almost none. So it doesn't go. It doesn't have time to go down before it's released. So I want the example the attack to be first release. We put that really slow. You can see that now. It doesn't have time to go up at all, because the release time is so slow. Okay, so a really good way off. Seeing how much compression you want to add is just watching this graph here on, we want to kind of catch the peeps if we catching the peaks off the south. The peaks are the gray area in the in the view here, Um, so we kind of bring the tresh hold, which is the blue line. Maybe halfway off the peaks. There we go, about halfway. And then with the ratio, we just go so that we catched were in the top off the peaks there, so that's quite slight. Lights, lights. Uh, it's a really like compression, but it's still effect. Yeah, on then, attack, we can put quite short attack is usually good on. There may be a little bit longer. Release depending. How What you want to do. So example They swan here now looks decent. It's quite transparent compression. So if you follow these steps, you will actually so following these steps on doing these things type of compression, you will be fine. It will sound so much better already. And then you can go between the compressed sound on the non compressed sound with this button here, which is the on off button. I'm trying to learn to listen The difference. Can you hear the difference between the comparison unknown calm person. Okay, hopefully that helped. Hopefully you understand that compression is a really complicated topic on, don't you? Don't worry. If you don't didn't understand that, just put about what I just did on it will make something. You're so so much. Okay, let's do a slight mastering to these hole up song now. 12. Simple Ways To Master Your Track (And Make It Louder/Bigger): Okay, so we're in the second last episode off these whole Siri's, so we need to now master the song. So we have that we have it in here. We have makes that we added ethics. So now we just need to make sure that the first step is making sure that the Master Channel , which is this one here in the end, that's not peeking. And again I've peaking means that it turns the channel turns red when it's playing. We don't want it to turn red when it's playing, so we need to make sure that these channels are the volume is low enough on Don't go on. Put the Master William lower. Go to the source off the sound. If the source of the sound is too loud, that's not good. So you need to make sure that the source of the sound is low enough, but not to go low enough like healthy, and then you need to make sure that the channel off the source is healthy on. Then we will keep the master in zero, but there's there needs to be a good amount of space between the green area on the zero so that's called the Hay As head room on. We need to have enough room there to just make sure that it's no peeking. OK, so, uh, how do we do that? So I have now make sure that the volumes are good and low, so that's about good There. That's good. There. That's good. There on there's okay, amount of head room there. I can also just highlight all the tracks, precious downshift and selecting the 1st 1 that the last one on, I could just pull them all down and leader of its like that together. So when I have all of them highlighted on the move, that one of the failures, they all go down. I know there's definitely more head room there that works. So let's go to the Master Channel. I just double click that on. We will get the audio effect area off the master child, so it's exactly the same where we were putting egos and compressions on the FX area off these tracks. Eso We would just go to the Master Channel and go to the effort area off that channel. So there's three blood things we need to add to this. Okay, So we go to the browser window, we go audio ethics. Under older FX, we go and find a limiter. So we add a limiter to the track There we share with you. Okay, After that, we're gonna odd eking on a compressor. So exactly the same things that we added before e que on a compression. So again, with eager and from pressure, you will be already made so much more interesting a better master. So with the eager with the master, we need to concentrate that we have a good balance between low mid and high frequency eats . So too, will control that low three will control the mid and four will control the high. So let's have a listen on. Change that on. In this point, we will do Really slight change is not much later. Bit of low end our own 200 hertz actually. Like a little bit of Mitt that actually yeah, this I want a lot more client. There's not much Khloe and happening here. Okay, And then I do the compression way. Need to go again about midway off the peaks with the treasure way Go ratio. So we hit the peaks wait the peak smoke But I'm gonna lower the threshold way are starting to hit the peaks Gonna reduce the exact time not to There we go. That looks more comfortable. So the distance between the yellow on gray is about this I want Lee mature is doing is making sure that nothing goes above the zero point on the track so it doesn't peak. So if there's no crackling or anything when you're exporting this whole session okay, there's also if you don't want to use compressor and eq you and you don't feel comfortable with them, we can just delete them on. There is another way unable to lie that you can actually master really easily. So you go to the or, uh, pros are all your ethics. Audio that rack and then we go mixing, mustering on from here There's two I like. So you go to punchy dance Master, that's a really nice for especially dance songs and does that order. It does the mastering automatically for you. So it have does that seeking does the compression automatically. You don't need to think about those or widen wide on warm muster and you just put them in front of the limiter on The difference is and this is basically the master, That is it. You don't need to do anything else. Just put the wider, more master example on the limiter on the Master Channel. That's the asset that set true. So in the next, in the last last last lesson, I will show you how we will export this on it. 13. Exporting Your Track: Hi. Welcome back. And this is the last episode off this course. So in this one, I will show you how you can export anything out off able to life on. We have now. We have a range. We have created the song. We have arranged it. We have done recordings of mixing and effects and all this stuff. And now we're just gonna exploit. Okay, So the first things first, what we need to do is make sure where does this song actually end? So it might not end here, because if we have delays that delay my continue after this area. Yeah, We need to listen. Where does that so actually end. So this play. Okay, so it's about there where actually ends. Otherwise you can always old. That's it. So I go here. I brought, like, drag the mouse like that to the beginning off the whole section, so I need to make sure that I started from where the song actually ends. After that, you just go to file export audio video. There we go. We go to this window on in this window, we need to make sure that couple things are happening. So first thing. Render track on this news to say, Master, if you put any of the other things, things will not happen the way you want it to, Then after that that we don't do any of this stuff. We have just need to make sure that the sample rate is 44. 100. That is the CDs streaming all the normal quality. That is where we need to be. Okay. PCM encode pzn on. OK, file type. Usually. Now it is. We want to work with wolf. Okay, 24 bits. Good. That's a good quality wolf d third, it's something that you don't need to really think about in this point, If you have mastered the track, you can just go and click triangular. It will make it sound better. That's facing the white does. Yeah, If you have no mustard to channel the truck, you can just put no desire. OK, I'm not gonna explain it in this point. If you want MP three as well, then you can just click MP three on. If you want, it will create both. It will create a wolf on just to say, if you what is the good quality content. It's the good quality file type. Don use MP three for anything else than just sending a demo to somebody. Yeah, War file is what you put on soundcloud War is what you put on YouTube always. But you put on Spotify Don put MP threes on any of these platforms. Just the war files, and you'll be fine. Okay. If you send your session to mastering engineer or mixing engineer, you send them wolf files. Never send them MP threes. They don't want to see MP threes. Just soup. Say Okay. After that, you just go export. So you go and select. Where do you want to save it? To mind. He's gonna cold, sunny song on. Then you put safe honey renders you wait nicely. Don't do anything to your computer while this renders. How about in? Just in case you don't want to interfere with it, just wait nicely. It will render it That's done. Now you can go to the file on their it iss. Amazing, isn't it? Okay, so that was everything. I really hope this helped. I really hope that the steps were clear enough and I didn't go too fast. Yes, police comment to the post. Let me know what you thought. So there may be other topics that you would like to learn on. Like what I could teach you here, let me know on Duh. Yes, happy creating.