From Cubase to Cu-Pro: Instruments | Tom Levin | Skillshare

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From Cubase to Cu-Pro: Instruments

teacher avatar Tom Levin

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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

23 Lessons (2h 45m)
    • 1. Introduction

      1:45
    • 2. Instruments in Cubase

      5:57
    • 3. Writing Instruments

      11:21
    • 4. Instruments Functions

      9:30
    • 5. Key Commands

      7:51
    • 6. MIDI Drums

      8:25
    • 7. Locators

      6:27
    • 8. MIDI Drums- Extra

      10:55
    • 9. Export to Audio

      5:56
    • 10. Edit Screen and Effects

      12:25
    • 11. Track Inserts

      7:08
    • 12. MIDI CC Learn

      9:17
    • 13. Chord Tracks

      8:19
    • 14. Chord Pads

      6:05
    • 15. Automations

      9:51
    • 16. Midi tracks in multi-timbral instruments

      7:29
    • 17. MIDI Outputs

      5:05
    • 18. Rendering

      8:52
    • 19. VST Installation

      8:10
    • 20. Finding the Muze

      3:47
    • 21. Finding the Scale

      4:54
    • 22. Drums Simplified

      4:55
    • 23. Conclusion

      0:54
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About This Class

Music. A beautiful form of art that many know to make, but only a few can MASTER.

I want to help you get to your next level of becoming a professional producer, with one of the most popular DAW's in the world: Steinberg's Cubase.

These days it doesn't take more than a computer to create the next hit, and the way to get there is not easy. I developed a guide that will help you get from a complete beginner to a complete professional in several hours.

So how will this course help you:

  • Learn the very basics and truly understand all the parameters, all the way to advanced techniques.

  • Write a song together from the beginning and going through all the steps.

  • Know shortcuts, troubleshooting, fast work with an emphasis on workflow.

  • Stop wasting time on useless videos and courses and learn what you REALLY NEED!

  • Learn all the easiest ways to compose fast, organized and efficient.

  • Become comfortable with Cubase and the usage of its parameters.

  • Free instruments, Drum maps, MIDIĀ files, Kontakt Libraries and more

This course will focus on Instruments and MIDI-

  • Writing, installing and editing

  • Using all the different methods to write faster

  • Use any type of instrument with an ease

  • Additional guides and assistance with other important fields of knowledge.

*The course will be updated constantly with new materials, tips and tricks and other amazing free instruments!

**Join our Facebook group to get all the support you need. Ask questions

So, what are you waiting for? Let's begin!

Meet Your Teacher

Teacher Profile Image

Tom Levin

Teacher

From a young age, I knew that music is what I'm going to do in life. I learned piano when I was 7, continued with a guitar at the age of 14 and already started writing songs. This is when I knew I want to be a producer.

Music is my passion, a way of life, something that takes more than a degree (and believe me, I've been there). So I decided to make it more than just a passion, and help other people get to the place they want.

Took me 10 years to make courses and build a way that anyone can learn how to write music in less than 10 hours.

By all means, ask me anything, consult or... even just chat! Music is connecting people, and musicians are the best friends!

 

 

See full profile

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Transcripts

1. Introduction: So you want to make music? That's great. You bought a computer, you both Cuba's and now you're ready to rock the world. But where do you start? Hi, my name is Donovin, and I've been producing music for the past 10 years. I've worked in several professional studios and even open one of my own in this course. Siri's called from Cuba's two Q pro. I'm about to teach you everything I know about production from A to Z on Cuba's nine doesn't matter if you're a beginner or an advanced user. Any master can tell you there's always new things to learn. I'm going to teach you everything you need to know. We will learn the most effective workflow, all the useful functions you can use and how to use them smartly. This course will be dedicated to instruments and meeting. Imagine you will have all the sounds in the world. I'm talking about string instruments, drums, breasts, bass and guitars, synthesizers, all of that in your computer. This is what the instruments and media is all about. We'll start from the very basic opening and installing new instruments, riding and working with them. I have free plug ins for you, tips and tricks for faster and better work. And best of all, we will create a song from start to finish together. I encourage you to take a look at the syllables and see what I'm teaching find If there is anything beneficial for you, the course will contain subtitles in two languages. English and Hebrew. Whether you're enrolling the course or not, feel free to join our Facebook group for tips, questions, support and so much more. Feel free to ask me any question you want and I'll see you in the next lesson. 2. Instruments in Cubase: So before we begin, let's talk about the different types of instruments you confined in Cuba's. I'll run with you over the instruments quickly and talk about all the necessary things you need to know. And when you find something really like learning deeply on your own and don't be scared off a little trial and error, what you all need to know is that the main purpose of the instruments is to emulate riel and physical instruments You confined. We can divide the instruments to several carriers. We got the synthesizers, which are using sound waves to shape, modulate and make them sound the way you want. All the sounds air here in the synthesizers are created directly inside them. We got the emulators, or samplers that are using pre recorded samples or designing the sounds as to play. We also have the players, which are working like a host, allowing us to load any sound we want, or that other companies have created could be synthesizers and samplers and other weird and interesting instruments. Let's start with the basics in Cuba's. We have several types off synthesizers. Let's start with a simple ones. You have the specter, the prologue and the mystic. These indices. Others have been with Cuba's for a long time, and you can tell the sounds are pretty old, and you can find many uses for them. E. I won't go over the details too much, but just so you know, in every instrument up here, you can find a list off cremate presets made by Steinberg, which you can choose for a quick use. You can move any off the different parameters you want by clicking and dragging up, down, left or right depends on the switch. Click on different parameters to open. Several options go between tabs and many other features. An action that helped me quite a lot is holding the control and pressing on any parameter with the possibility to change its value. This will set the value to its default, usually 0 50 or 100%. You can use it in the instruments and even in the main instrument setting, such as the volume and the pen. The next intercessor in Cuba is a one I'm using quite a lot. Called the retro log. This intercessor is emulating old analog synthesizers, and it's doing a pretty good job, as always, the presets will be on the top, and you can never get with the arrows. And and you can, of course, move and use different parameters. If you have a keyboard president and see how it sounds in some instruments, you have a keyboard you can play if you don't have a keyboard. By the way, you compress on F two to open the transport bar, right click choose diverse Jewel keyboard, and from there you can use the keyboard if your computer to play just like a piano and go up and down on the octaves by pressing here. Next is one of the most used instruments in Cuba's, which is called the Hellion Sonic. Helen Sonic is a player, which means you can load any type of sound on it from riel sounding instruments, drums, synthesizers and what not. You can even create some presents off your own. It is possible to find and download from the Internet some presets that other users have created. You can load the different selling from up here, here or from the low tab to load the sounds. You can double, click or drag and drop them in the first slot with every 70 open. You have new parameters and functions. You can change from down here. We'll use the Helen Sonic a lot throughout the course, so don't worry. We'll talk about it. The next instrument will talk about is the groove agent, using most of the time to create drums. You can select the presets from here. Click on the past to hear what you're playing. Go between the different tabs to find the different parameters and many other options. We will also work a lot with a groove agent, so don't worry. We'll talk about this as well. The next instrument is combining audio files and synthesizers to create some cool and interesting sounds. This instrument is called the Pet Shop. We can change the presets, and whenever we're playing on one of the keys, what the patch up is actually doing is cutting small pieces from the audio and playing it over and over again, adding some effects and modulations. You can get some crazy stuff now. The pet shop groove agent and the hellion are free samples coming with Cuba's, and if you like them, you can buy the full versions online that will give you a lot more sounds and functions to play with. The final instrument comes with Cuba's Is the Look Mash. Its main purpose is to take audio files and messed them around to create sequences. You also have presets here, and if you have audio files, you can load them directly to here. I will make another complete course about audio, which I will explain a bit more about the look mash groove agent at Patch Up with the usage off audio. Don't forget that the most important thing to do is to experiment, so make sure to check all of the instruments by the end of the course, so let's begin. 3. Writing Instruments: Okay, Lets start recording, right. Click on the track column and add Instrument Trek. What you're saying here from left to right here is the number of tracks you want to add the instruments you have from your instrument list. It can either be instruments in Cuba or instruments during stole by herself, and live the output routing us. It is in stereo. There are many instruments online that you can buy yourself, and they're also plug ins that are in Cuba's, which we will use now. For the beginning. You can open instruments from the drop is to see under instruments or search in the broth. Click on the bras. And here are all the instruments off Cuba's organized in one big list. Just noticed that instruments you have downloaded yourself won't show up on the browse list . If you can see all the categories, click right here and add the filters under instruments, you will find the different Softwares you will use. The sound from the category is the type of instrument you want install. You'll find instruments suited best for specific genres and under character. You'll find the sounds main characteristic. I am personally avoiding the bras and recommend you to know the different Softwares by themselves. It's gonna take a little while, but once you get the characteristic off each software, you'll know where to go exactly for a specific need. But since we opened the browse, let's continue from here. Let's start with a simple piano sound, So in order to find it, I can go under the piano category or click on the search bar and type piano. Under the results, I can pick the best description for the sound I'm looking for and narrow the list even more by clicking on one of the categories. If you have a mini keyboard, you can play after clicking on the sound to hear what it sounds like. Uh, but if you don't have a media keyboard, you can click right here and choose Load Midi file and then load the media file. I added for you in the download section. Sometimes it might take a few seconds to hear the sound, but eventually you'll hear it. You can also switch to memory quarter and press on a few notes on the midi keyboard. If you have one and simply go through the samples well, what you played will be playing automatically. Let's pick the grand piano by double clicking on the name or clicking on Add Trek. Okay, we just created our first trek. You concede that a track has been opened into track. All, um, from this area, you will be able to record at it, change and add special effects to the instrument itself. First things first. The naming. It's very important to keep the project organized. I'll double click on the name and change it to piano. We can also change the tracks color for better identification by clicking here and choose the color. And if you really want, you can expend track a little bit. And under the mute and solo, you can see a little square being highlighted. When you're hovering above it, double click, and there you can choose a picture. It will sit on the track itself. Let's find a piano and the work literate. Even though I'm not using this option quite a lot, you gotta admit that it's pretty cute. Every instrument you download or having Cuba's has a special screen off its own, where you can edit the sounds and pick other ones from pre made presets to get to the edit instrument screen. You can press right here on the piano or under the first tab right here. Now let's begin from the basics. Close the window. Make sure the snap button is on, and while standing with the mouse on the row off your crack, click and hold the out button to see a little pencil and starting from the bar, Click and hold the left mouse button and start dragging from left to right in order to create a new box. No double click on the box or enter to open it up, and it takes us to the media editor. In Cuba's versions, nine and above, you will see the anything in the lower zone. Now I like to keep my screen clean so under a file tab ago to Preferences and go to editor to change the preferences off the editing window. So whenever I'm entering a box to edit, it will open in a new window. It is very useful when you have more than one screen, but if you prefer this view, you can simply drag and change the size of the window or click on this button to open it in a new window and bring it back to the lower zone. You can use the piano on the left in order to hear the sounds, but the piano is too narrow for me. That's expanded by going to the far left side of the piano until your most is changing into a hand and then click and drag to the right. There you go. You can also zoom in amount vertically by holding, shift and press on G or H. This also works for the main window. Now, in order to write sounds, click and hold out to switch your cursor into a pencil or double click anywhere you want on . You can simply draw the music. Click anywhere on the grid and you will hear the sound. If you can't hear the sound, click on the speaker right here. You can also change the length off the notes. If you're clicking and dragging, you can also change the length of the notes in the quantities. I'll pick an eighth and continue. If you misplace the note, simply click on it on. Drag it to wherever you need. If you make one by mistake, you can hold control and press the in order to undo or redo by pressing on control shift and NZ, or make sure it's highlighted and press delete. And if we go to the side of the boxes, we can drag to extend or shorting the length of the notes. You can also cut the boxes If you're pressing and holding out while you're hovering above an existing note, watch how it's turning into scissors. Simply click, and they will cut. Now you can simply delete apart or move it to wherever you want and use it as a new note notice. You can reach the pencil and the caesars from up here. I like working without key held on, because for me it's much faster. Another method amusing a lot is to rebel note. And while dragging it, hold the up button to duplicate a note with all these variables. If you drag the note up to create a cord, hold control at the same time as the out to keep the note in the same places the morning copy. You can dragon out sideways and cancel the snap option temporarily by holding control. And if you press on the left and right arrows. You can hear and highlight notes close to each other. Use the up and down arrows to change the notes by half a tone toe. Worry, click. We can highlight any part we want, and while holding control and pressing the it will be duplicated. Just make sure the last note is ending right on the grid or the notes won't be exactly on the temple. When and if you see this window, simply check. Don't ask again. And in large part while writing instruments, you can expend the limits from the beginning and the end of the part by clicking on this part here and dragging it to expand the box. This will also affect the box in the main screen, and you won't be able to hear what is not between these limits. If you cannot say these limits simply press here to show them also, you can move the notes left and right, with the quantities preset by holding control and pressing the left or right arrow keys. Notice that most of the actions I talked about now are working not only with the instruments but also with boxes. You at it seated every box. I'm high writing in the main screen will also show it's information down here in the lower zone and click on this link button right here will synchronize the upper and the lower rulers so you won't lose yourself inside the track. No, if you have a keyboard, you can do everything we just did very quickly and even from the main screen. Let's delete all of the boxes. Press delete on the number prior to go to the beginning off the track. Make sure the recording neighbor button is highlighted, or else you won't be able to record anything. Make sure the metronomic zone. Remember a plate here or breast. See and now record by pressing on the asterisk on your number pad or the record bon right here and play the notes. But click on space to stop the record. And if you're making any mistakes, you can record the entire thing again or simply entered the box and edit the way. Want notice that recording on the keyboard itself has a bit more human touch in the terms off feeling in the volume and accuracy. But if you want to be completely accurate, press Q on the keyboard and watch the notes jumped to the grid closest to the left side. They may not always jump to the place you want, but you can move them by yourself. I gotta admit that I don't like the sound too much, So let's replace it under the first tab. I just click here on the name off the software and open the list off instruments we have in Cuba. Any stricken recall? This is the exact same list we can see when we're adding a new instrument just without the bro's. Let's type alien in the search bar and go to the Hallion Sonic S E, which is an instrument in Cuba's that can also emulate live instruments, collect to open it. And right here in the low tab, we can search for a new piano. It works exactly like the bro's. Okay, we got some examples. Let's go over it. Sounds double click and play to hear. Uh, let's try another one. I think I'll go for the bright rock piano. Don't forget that you can always breast on the keyboard. Don't hear it. You hear the sound on? Let's hear it sounds a lot better. Remember that you can always change the sounds right from here, speaking new instrument or change the sound from the presets in the instrument itself. In case you don't like a sound, you can simply delete it by right clicking on the track and clicking on removes like the track or simply press on shift and delete and Dario. Next lesson. We'll see the instruments functions and show you how to control different settings in the sound of the instruments. 4. Instruments Functions: after you're done writing an instrument into part to know all the functions that you can use in order to shape the sound the way you want. After double clicking to open the box, you can see down here the function area. If you can see in a function, simply click on the plus to add a function lane. Now we can change the different type of function by clicking on the arrow right here, and we'll start with the velocity. Let's drag it up a little bit so we can see better. Okay, The velocity, simply put, is the amount of volume you have. For each note, you can change the velocity for each known separately or some of them together. The higher and more read the bar, the stronger is the note that start by changing off them together. Hold control and a to mark all of the notes together and in the top of the highlighter part , you can see two arrows, click on the mouse and drag all of the bars together. I can also change independent notes just by dragging the bars, and as you can see, we can hear the sounds on in case you have a cord and you want to change all the notes or one of them. Simply press on the naughty, want change and move the velocity in order to change the velocity for a specific note or, while not highlighted, changed the velocity for all of them together. If you want to create a mortifying increase or decrease in the volume, you can simply click on. Draw a pattern. If you want to create something more precise, you can use the lines up here. Click on it to select the line and down in the velocity. You can click and drag to make a certain type of for progressing velocity. Click the line again to drop down a menu off other lines you can use, such as parabola, that you can change its position by pressing on control and different line shapes. If we take the sign, for example, we can change the density of the waves by holding shift and dragging and the waves position by holding control and dragging. Now that's moved to the beach, meant on most medical roles and synthesizers. The pit shift will be on the left and we look like this. Check it out. As you can see, I can pitch the notes all the way up or down by whole tone. Let's click on the arrow and go to the pitch. Bend functions now by default, just like in the keyboard. The pitch band is always in the middle. Go to the beginning of the track, and now whenever you press the asterisk to record, if you move only the pitch shift itself, it will do the same in the Q base. Every pitch you made here is changeable and edible, and your movement is being determined by dots you can see right here. You can press on the dots, change them the lead them or make new ones by press and holding out and drawing with a pencil. If you want better control, don't forget to turn off the snap so you won't see it exactly on the grid. It works pretty similar to writing the instruments. Don't forget that you can also use the line in here. If you don't like what you did, they lead the part you want to change, go back a little bit and record over this part again. Personally, I like the human touch a little bit more. And if I need some more precision, I can always added them later in every function when he can edit the variables within a line like here, you can also select any part you want. Press on the part and while holding out, drag it and drop it in the place you want. This way, you can simply duplicate the same actions you did for the next part. Don't forget. Used to snap for better accuracy. You can also use the control and D. If you're sitting right on the grid, then you can simply copy all the parts again and control D and of the same over and over again. You can determine how far from the center the dots will be by pressing right here and dragging up and down. Raise or lower the entire product by pressing here and dragging up and down until the variables between the left and the right. By pressing on one of triangles up here and drag up or down. These actions can also be used in the velocity function. Now that we got the pitchman covered, let's talk about the modulation will, which is sitting right next to the pitch mint, depending mostly on the settings of here. Effect moving. The motivation will, while and after recording, can give some special features to your sound. Let's change the function here to the modulation, and I'll show you how it working in this effect. Check this out for this specific instrument. Whenever we're raising up the modulation will, it's adding an octave above the original sound for its sound. The modulation will might do something a bit different and, like I showed you before, it's being written down while recording and edited, just like the previous functions. But unlike the pitch will, it doesn't get back to place, but luckily it's not operating unless you move it. So whenever you're finished using it, return it back to the bottom. The final, maybe function will talk about is the sustain. The sustain is basically holding the notes for you, instead off you, holding all of the notes together and allowing you to play out of things. Well, the Nazi pressed on and left are still playing. If you ever look to the bottom of pianos, this is the pedal on the right, a quick demonstration, and once again you can change it by yourself. Notice the sustain pedal is either up or down, and you can edit it yourself by being above or below the center. Being above the centre mean the pedal is being pressed on. Being below means the pedal is released. So whenever you're editing to sustain, make sure you're falling. These rules don't forget that If you want to debate any of dysfunctions, simply zoom out, select all and president it. The next two functions you can do with a thing called automation, which I will teach you about in an advanced lesson, but you can also do it from here. I personally like it more from the automation because it's much faster to add it, but it's good to know dysfunction. Click on the arrow and choose main volume. Here. The amount of volume isn't dependent on a single note. You can change the volume itself during a long play. Let's draw a volume line and play. Another function is depend, which is determining which side of the speakers gets more percentage off. Sound from the instrument. Go to the arrow and go to the pen. No, that's draw a line and play if you open the instrument itself through the piano. Here, you can see the volume and the parent changing during play. Consider this a little preview to an advanced lesson. If you want to have full control on several functions at once, simply press the plus to open a new function. Let's just expand them a little bit and simply choose the parameter you want to add it. To close the function, simply click on the arrow and go down to remove this lane and finally, an order to functions I'd like to talk about when you're in the piano and pressing the media tab, going down to functions and pressing on fixed length. All the notes are changing to the size off the Qantas pre city chose. You can also select and perform the function on specific notes. Second thing I'm using quite a bit is the llegado meaning off. Llegado in musical theory is playing the notes right after the last one has ended. You can also find them here in the media tip and functions and have your notes playing one after the other. Also here, you can select notes and perform the function on Lee for them. Okay, After some tweaking, I finally have the piano, complete with its velocity, the length of every note. Everything sounds just the way I want. Now. I want this sport to play twice, so let's cut the end and the beginning to sit exactly on the bars. And now, by holding control and pressing D, the part will duplicate with all the corn functions. Use these boxes to copy and paste parts that are repeating themselves like the course or vs for a festive workflow. If you want to, you can change the color of the box in order to recognize them better. So, for example, I can make this one the course and change it to Green. I can make this part belonged to diverse and change it to read. Next lesson. We'll talk about the key comments and show you exactly how to use them in order to boost the speed off your work so 5. Key Commands: the key Commons in Cuba's are designed to make short cuts to actions for a festive production you can add, commence to your likings and change existing ones for your own convenience. In this video, I'll show you some commands I like to assign to Q base. You can add these yourself or Lunder process and make some of your own. You can find the key comments by pressing on the file tab and going down to key comments. The big list, you see, are all the actions Cuba's can make with the press off a key. The 1st 1 elected change is the monitor, which is a little speaker button right here. The motor has several uses, but at its core, it's along you to hear what you're playing. I'll show you how it's working with the instruments in the search bar typed award monitor and press the magnifying glass. Every time you press the magnifying glass, you will jump to the next comment containing the word she typed in the search bar. The action we're looking for is an addict action and can be found under the edit folder, so we'll keep on pressing the magnifying glass until will get to a single monitor. Word. Okay, we found one. Roll up to see if it's in the edit folder, and yes, it is. Now press on the black rectangle under type in Key to insert the command, and I like to use the wiki as in volume. So ahead V and then a sign. Now it's just it. Close the window and right click on the track column and look for a basing this other in the pet shop instrument. Let's open the bras and look for something nice. Maybe in this scene spatter, we'll find something. Let's try another one. Okay, that sounds good. And now press V to activate the monitor. If it's lining up, it means the key command is working in the instrument track. We can use the monitor to hear other track, which are not highlighted at the moment. And when I'm playing, I can hear both instruments. Disable the monitor and let's go back to the key commands to make another one. I want a fast action to export files into audio in the search type export and click the magnifying glass until you to export audio mix down. Click under type in key and breasts e on the keyboard. This key is already assigned to recommend, and if we click on select, you are director to this action in the list. Personally, knowing this action, we don't need it. So again, press on the magnifying glass to get to export audio mix down. Here we go, press sign, and if you have second thoughts, this is your opportunity to decide. If not, press a sign. Don't worry, I'll teach you all about exports in the export audiophiles. Listen. Now that you know how to make a key for each command, you can type on random keys and keys combinations under a type in key to discover new actions and change them the way you want. Also, any key or pressing in the main screen and then opening the key command window will show in the key Commins right here. And over here there is a King Cuba's, which I find to be pretty annoying, so I'd like to remove it. I'll show you the section, and you can decide on your own. If you want to remove it or not, let's just move to a bigger project for a second. This key is the N Key, which jumps into the bottom track and being located so close to the delete button you might accidently press it when you want to delete certain files. I can't find a proper years for this key. So back in the recommends, we confined the action right here because this is the last key we pressed on. Or if not, click on the rectangle and press on end, then select, and then we can remove it right from here. Second thoughts? No. OK, it's gone. If you're unhappy with changes you made, you can reset all the commands by pressing. Here, you will find a PdF file with many useful key commands I use in the download. Fine, but don't run away because we're not done yet. There is a great function called macro, which combines several commands in order to make an action off your liking. Sometimes we'll recording audio or meaty. The sound might be dragged or rushed instead of sitting right on the spot. Not quite my temple. You can change the quantities to 128 and then Nagy depart to the left or to the right to move it in a matter off milliseconds. So the long action will be pressing on the Qantas preset selecting 128. None of the part of the place you want. And after it's run on spot, you would probably want to come back to your most use quantities preset. Luckily, we can make a shortcut to all of these moves with one macro. Let's open the key commands and click on show macros or was standing anywhere on the list. Press on s Here you have a list of commands you might find they used to and will be able to assign a key to the command list. Click on New Macro and we'll name it a little to the left. This is where your logical thing he comes in because now we need to recreate all the steps we did just a second ago. So the first step was changing the Qantas to 128. So in the search, type 1 to 8, click the magnifying less and make set quantities to one out off 128. Your first action off the macros by clicking on add command. Next we move the box by one set of Quanta is to the left. So under type in key, I'll hold control and left. I'm sure you remember this action from the writing instruments lesson. If not, it's men you're not practicing and President select too rigid in the list, and pressing Ed Command will make this our second action. And finally, we don't want to stay on 128 because it's really hard to navigate on this small quantities . So I'll return it to my most use quantities, which is 1 16 But you can choose another one if you want. We already have 128 in the search bar, and these actions are under the same category. So hit the magnifying glass and you will find again the same quantities list. Press the Quantas you want to pick and at a macro as the final action, and that's it. We're done. We still need to make a key combination for this macro. You can look for the macro in the list under the macro folder or even faster. Type the name off the macro in the search bar under a type in key. I will hold control and shift and click on the left arrow key, but you can assign whatever you want. Okay, you got it. That's tested. Let's take this box here. Just set it on the bar and the opera's control shift and left. Did it move? Then you would just learn how to macro. Now try to make a new macro for a little to the right by yourself. And finally, a tip. If you want to save all your key commands in case you're re installing or upgrading Cuba's , click on the save button right next to the drop list and name your preset, which you could later lowered from here. The process is saving to this best. In this bath, you'll find all the process to Ricky comments and many order types of process that you're making. So whenever you're upgrading Cuba's reinstalling or for meeting your computer, copy your personal in presets and drop them in this bath off the new installation and use them like nothing has changed. Next lesson. We'll start rocking with many drums 6. MIDI Drums: in Cuba is there are three ways to make drums, instruments, samples and recording. My favorite one and most easy to make is the V ISTEA Instruments being easy to add it simple to change sounds and having in instrument effects and twitching abilities makes it my go to method to make drums. There are many drums instruments out there, but for now let's focus on the groove. Agent SC. But you can find free on over Cuba's That's opening like every other instrument. Right click on the track, Willem at instruments. Close the browse. If it's open and go under instrument expended rums, click on Groove, Agent SC and Track. The Instruments control panel is pretty simple to understand. You can load drum kits by pressing anywhere in this area. You can expand your search by pressing on Fielder's, and you can pick any of the drum sets you want here. The song we're working on has a bit of her rep or a hip hop feeling to it. Let's change the categories to give us better results. The category list, for example, has no help for us, so we'll click on the arrow to drop many off the lists, options go to musical and let's select the style. Now we can see that we have some options here, but let's go even further. The subcategory lists also doesn't help us much. So click on the arrow, Go to Musical and let's elect the sub style much better. Now we can go down to rap or hip up on load. One of the kids here followed a specific here that I know when working with cold kits, double click and wait for it to load. And when it's opening up, you can see it it on each and every one of these squares here called pads, sitting a different drum peas. You can see that the C one note is playing a kick. The C sharp one is playing a percussion and so on. Click on the pads to hear the sounds. The lower on the patio press the lower is the sound, and you can also go crazy on the keyboard. Now, whether you're new in drums or you just want to have some new ideas, you can use the patterns up here. Click on that. We're sure some pre made patterns made with this kit and when you're clicking and holding one off the pads, you can hear the entire pattern plane. You can also click on one of the pads and hit play. Same goes for pressing Announce on the meeting keyboard. By the way, in most medical boards, C one is the C note. On the left, you can reach lower notes on the left or higher notes on the right by moving an entire octave up or down by pressing on the shift octaves buttons on most modern medical board, it looks pretty much similar back to the patterns you consider. We have some grooves and single parts playing on their own that you can combine later for beginning. Let's take one roof and enter it into Cuba's simply click on a groovy like on Drag it into the project. Okay, this one sounds nice. Make sure to put it in the groove. Asian track. On this, you can see a box with pre written Midi has been added to the project. You can double click open and addict just like a showed you in the writing instruments lesson that's here owed sounds with the piano. It's going a bit too fast for me that's fix it by dilating the part back to the groove agent, and we can slow by half the speed of the pattern by clicking here. You can also double the speed if you want so too fast. Let's keep it on half and ragged into the project on at it. Let's change the velocities off these parts. Here we have no sta gator, and when we mark and try to change one off its velocities, the orders could also change. That happens because the notes are not lined up in the same bar and they get confused. You can get really closed up or something. Put all of them in the quantities together. And finally, let's move the reverse symbols a bit further away. You can always check or uncheck the solo up here. This way, you can isolate the instruments or hear them with the entire project. Feel free to explore oughta types of drum kits and check their patterns if he found a pattern you like, but you want to change the sounds, uncheck the load kit with pattern option to keep the patterns off your choice. Just notice when you do that that some drums are organized differently, so make sure you change the notes to the correct Grumpy's. Also something nice here. We can hear an annoying effect in the beginning. Let's go back to instruments, and you can hear that the sound is in this pad. I want to switch it with this symbol. I could enter the edit screen and drag or even better, switch between the symbols in the groove agent. Simply drag one pad on top of theater, and in the second row we can see that we can switch. And that's it. I also noticed that not old drums have patterns, but for the ones that do have, you can see a light above the pattern stab. So we got the part. Let's right the 2nd 1 ourselves. In order to do that, I'm using a method called Punch in. Let's go on the ruler. Two bars before the beginning Off the part. No. Basically, what we're doing is recording a drum peas and when finishing, simply returning to the beginning point and recording another one. Let's start with the kick and the snare. Make sure the metronomic zone and press the asterisk to record okay, breast space to stop the recording and pressed zero on your number pad to go back to the last point. You're started from or on the start button right here. Now that's at a closed and open Hyatt. Okay, Now let's add a crash. In the beginning, which one is the crush? Just want. Okay, that wasn't too hard. But whenever we're double clicking on the box in order to get in and edit, we're getting the last thing we did. Which is the crash? Our puncheon has basically recorded one on top off the other and created us layers, which you can see by the diagonal lines To fix that right, click anywhere on the main screen, switch to the glue, mark all the parts and simply click. Now we can enter ad at it and do anything we want. I'll just dragged the beginning off the media box to the bar we started from. And now I have better control in the next. Listen, we'll talk about the locators and how to use them. 7. Locators: the locators are playing a big role in the production and are enabling you to make cycles, ski parts, exports, selected fires and even punch in and out off a recording. To control the locators, Move the mouse to the upper part of the ruler till it changes to a pencil. Click and hold the left most bone and dragged to determine the distance between the first locator and the 2nd 1 Remember that like out of features, the accuracy of the locators in the grid is determined by the Qantas preset and the snap button. The way I like to use it the most is by highlighting and box in the track by clicking or marking it and then pressing pee on my keyboard to make the locators automatically said from the beginning to the end off the box. So why do we need the locators? First, they can determine an area that you are currently working on. A press on number one in the number pad will move you to the left locator and click on number two and number pad will take you to the right Locator. If you don't have another pad, you can press on this button to go to the left locator and on this one to get to the right , I'll show you an example. Press on one on the number pad to get to the left locator, and now you can record right from there if you need more time to start, then dragged Elif Locator one board to the left, press one again and record after I'm done. Pressing one sends me back to the beginning so I can hear everything while pressing to on the number pad moves me right to the right locator and I can continue. The great thing is, and I'm using dysfunction. A lot is that I don't even have to determine an area. And while standing where I want to record in project holding control and pressing, one will put the left locator where I am well, holding control and pressing to will put the right locator where I am. And now I'm not losing myself in the track and working fast by pressing one or two and recording fast whatever I need. The second use of the locators is the cycle, which is basically a loop between the left and right locators. You can use the loop to get some new inspiration, makes it and even practice and record several ideas. That's market part. We want to loop press P and then press the cycle button right here or the divide in the number bad. Now this part will play in a look long as you remain between the locators and it gets back to the left locator. Just when reaching the right locator just to get out of the loop, simply press the button down here again, or the divide in your number pad. Or, if you want to continue ahead of the rope, simply pressed to on the number pad or go after the right locator. The 30 years of the locators allows you to skip the parts between the left and right locators. Well, it's a little bit less common to use when you're thinking about removing a whole section and wanted to see how it sounds before you're deleting it. This is where escape could save you some time while the cycle option happens when the left locator is on the left and the right or carries on the right. Switching between them was said to skip. I would like to skip several bars in this project, so I'll drag with the pencil to one side and then to the outer side to move ahead off the opposite locator. The range between the locators had changed colors, and whenever you play before reaching the left and it will skip unfortunately, there is no shortcut to the German escape and highlighting a section impressing P will always say the locators to perform a cycle. But there is a quickie command that can switch between them, enter the key commands and, in the search bar, a type exchange left and then hit the magnifying glass. The command you have on the list switches between the left and right locators, and you can assign any kid that you want. I married a control shift and divide. Let's check it out on a piece of cake is working. The last thing you can do in the locators is to create an auto punch in and out to a recording. I'm Bill the using deception, but once in a while I find it handy. The two arrows, pointing up and down in the bottom are turning the punch in and punch out on and off What they're basically doing is making a spot in the track where the track will be recorded and stop being recorded automatically. Click on the tree dots here to expend the transport bar and click on the punch in or I on the keyboard and the punch out or O on the keyboard. You can have them locked into the left and right. Look errors by clicking on the gear. And after setting the locators, it will look like this or said them the way you want. Click on the lock to turn it back into gear, and you will find red locators on the top, which you could rag to set the punch in and punch out. Just make sure to turn off these options when you don't want to use them, because when turned on, they might stop or start recording in the meal and cause some confusion and a final tape that could really help you save some time, said the locators between a certain area or pick a box and press on P and then press control shift and E. That will move all the media that is between the left and right locators beyond the right locator. And now if you had any idea and you forgot to inserted into the project, you have cleared someplace for that. Next we'll learn how to export with the use of the locators. 8. MIDI Drums- Extra: and this lesson will focus on two things you can do with many drums in order to write them a bit more conveniently, 1st 1 would be the big designer. Press on the media, inserts tab and then click on the rectangle. Now choose the big designer. I'll just expend the window. There we go. Every white Colin you see here represents a beat or 1/4 and based on the quantity choose from here, you can design a loop in a length off the bar or more that will play in loops. That said the locators around the bar and run them in a cycle and hit play. The little marker on the top is telling you were you are in the loop. We can see on the side here a different drum pieces, and when you press on the speaker, you can hear them. If you want to change the drum piece, you can click on the name and find the tone you're looking for. I suggest you to open the groove agent screen and check out the notes you want. For example, let's replace this sound right here with an open Hyatt, which is in a sharp one that's open to be designer and changed the something we wanted to a sharp one year ago. Right? Click anywhere on the window and press always on top to make sure we won't disappear. I'll just add an open high it. I don't mind the names in the biggest donor since they're working in correlation with the drum up, which will explain about in a few minutes. Now here comes the fun part wall Dilip is running. You can enter the drum pieces by clicking on squares in the correct row. You compress on the top off the square, below the middle or at the very bottom to quickly set between three different velocities. You can also have better control by clicking and holding the note and rigging up or down to change the velocity. Clicking and dragging sideways will set consistent notes by the quantity chose clicking on an existing note and dragging sideways will erase the notes you choose. It goes the same for controlling the volume on the side of which note you can change the swing parameters, which will shift the notes from the quantifies and give the drums and off great effect, making them sound a bit more human. You can change them independently to rush or drag or said them on a swing setting either one or two and control all the drums in these settings together. By moving these lighters, I'll just add an open high it and a snare. There we go, clicking on the flaws down here kind of small, but it's down there. We lead and not Elaine to the total rose, so you are not limited to only eight. You can, of course, remove lanes by clicking on the miners on each row. If you're looking carefully at the bottom off each square, you can see three dots when you're hovering with your mouths above it. These dots are called flames. Whenever I'm clicking on the bottom and checking one of the dots right before the note will come, you will hear another short one before it. It's adding very short notes right before the actual one is coming. This will allow you to create some better swings. Slow down for a second so you can hear it better. That goes the same for two or three dots. Now, while this is running in loops, we can control the flames, their volumes and their positions from this section right here, each lighter is responsible for a different Flem, and whenever you're clicking on 12 or three, you have full control on their position and their velocity. Let's bring it back to the way was before 16 beats and 1 16 quantities there ago. By clicking on the arrow up here, you can see that I have many cool things I could do with my patterns. I can achieve them around to the left or right to see how they sound differently. I can reverse them. I can also copy the pattern, and by clicking on any off the outer keys down here, I can taste the pattern to another one on Shifted as well. You can make a total of 12 different patterns in four different groups, which makes a total of 48 different patterns. In the big designer. That is pretty awesome. If you like the patterns decorated, you can click here and press save, and then name it the way Want done. Simply load it and use it. Now you're probably asking yourself, How am I adding to be to the track you got several ways for that, you can drag the key directly into the project, which will add a box containing the pattern in the specific key or choose one of the options from here to insert the pattern from word, the cursor is standing right from the left locator or to fill the space between the left and right. Locators weighed your pattern, which could also quickly multi play. It is also possible to record them directly into the project. Check the recording sign on the media insert, and when you record a track, you'll see the pattern being created. You could also jump between patterns and try some new stuff, even though the transition might not always be good. You can said that the pattern will switch on Lee when it gets to the end of the loop by pressing on jump. And now, even if I switch them in the middle, the change will occur only when this part ends. Just make sure to turn off the jump whenever you're removing something into the project, because it will mess your media files. The second thing I wanted to ditch you is the media drum map. It may sometimes be a bit tricky to remember in the media attic screen. Where is every part off the grumps? By going to the main tab, you can change the media mapping off the set you were playing with. Or click on the empty space here and pick the GM map, which will reorganize the meaty edit screen in a way that every drum piece is in a designated location and you can easily find the notes. The writing system has also switched from rectangles two dots. The reason for that is that drums are not based on length but on hits. When holding down the aisle to write new notes, the cursor is changing into a drumstick instead of pencil you can on click with the drum stickers are on the location you want, and you can drag at eight your race and move regularly. Also, the functions were show you only the specific piece you're working on currently. This way, I have somewhat off a better control on one piece. If we want to see more, I can select them highlighting the one up here in the top will play on solo, the last drum piece that was selected. This will help you when you want to focus on a specific piece. If you click and drag sideways, it will do exactly what it did with the designer. You can also press on the first column to hear the zones. No, if you can notice, some of the sounds are not matching exactly to the name. This is happening because the drama is matching to the most basic groove Agent drum set, and if we were opening something special, it might change. You can change it by selecting the drama up and creating drama up from the instrument. Notice that this option is working on Lee with the groove agent. If you have other types of drums, you can look for their draw maps online or download one of the sets. I add it for you in the Donald section. You can also create a new one from scratch by going to drum map set up and selecting from function and new map. I have him, for example, a drunk it. I'm using a lot called addictive drums. I can find the map by looking in the options off the instrument, and it will either direct me to the website or open a new window that will explain how the drums are located on the keyboard, starting usually from C one note as the kick. I will build up my way and make sure that I need all the drums. I'll make the C one kick and then go to the next one, and I can simply copy what is in the list and put it in my own raw map. I'll answer the next one also, and there are some duplications here, which I don't need. So let's jump to the next valuable note on one finishing everything. I can simply drag and replace the locations off whatever I need, for example, or what's below. C one is not necessary for May, so I'll make sure to put the C one first and then all the rest. Now I'll double click on the name and change it into addictive drums and save it to a specific folder. And now I can simply have it here, or remove and load it whenever I want Hope this two functions will help you write faster. Remember that with a bigger drum, said it might be a bit frustrating to move and change all the names and the locations. So try to look online for a drum up. Someone did or use the maps I attached in the Donald section. And now when you have a drum map all fixed up, opening the big designer will show you the correct names and the location according to your drama. In the next listen, we'll learn how to export audio files. 9. Export to Audio: exporting files is an option made for many purposes. Apart from listening to your completed project, you can export meaty, specific files with all of their inserts and options. And if you're having a song with a changing tempo, I need to send the temple for any reason you can export a temple track. In this lesson, we'll talk about exporting files into audio. I opened another project I'm working on for the sake of explanation. To export an audio track, we need to set the area we want to export by using the locators, and you can decide if you want to export the entire project or just several tracks by soloing them. Let's start with the entire project. Ah, first check that. No instrument. I need his own mute or solo. Since I want to hear everything, I'll hold the control and press a tow. Highlight everything Press peak to set the locators. I'll make sure to add at least four or five bars on the right in case some instruments have a reverb or delay effect on them. Press on the file tab and in the export will pick audio makes down. Let's go slowly over what we see the list on the left contains all the channels you're using in the project being divided. Two categories, like audio instruments, effects and groups will help you find everything you need checking the stereo. It will export everything you hear in the project in real time. You can also select a single track you want for a single export while the exporting when there was open, you can solo or mute tracks in the main window and then explored the stereo out with these specific tracks. Pressing on Channel Batch exports allows you to pick numerous tracks and export them as different files for a festive work. And in the filter, you can search for the files yourself. Here, you can name the file you're exporting. Name it in a way. You can understand everything so you'll find it easily later and won't be confused. The path will lead to choose where to keep your files. I usually save the files on the desktop unless I'm exporting a large number of tracks to a specific location. Naming scheme lets you change the way your files are named. This will help you distinguish between files, especially when exporting with the channel batch export files off the same category, like in a cappella or a group of strings. You can select the default scheme and create schemes off your own by dragging, dropping and changing the way the parameters will look after the name. You can see the preview right here. The file format will set the file in the four months you choose. My usual pickings are M p G, layer three or as we all know it, MP three. For simple projects and listening to sketches later, you can change the quality here. I usually go for the highest one possible and lived the simple rate on 44.1 and wave files for exporting files back into the project for mixing and final professional exports. For me and for the customers, the audio engine is responsible to the quality off the way file when exporting files for a mix, staying the same simple and betrayed as the project and when mastering it, make sure it's a state of standard 44.1 kilohertz and 16 beat when using midi triggered effects and synthesizers that are working on Lee when played in real time, use the real time export option export in Mona when exporting single order falls such as vocals and guitars. And finally, when exporting falls for a mix, you can bring them automatically into the project after exporting it will put the files in the correct place and save them into the Original Projects audio folder so you can arrest the falls from the past They were exported to Selecting the pool will put the exported file into the projects all their folder. I would explain more about the pool in the next course, which will focus on audio. Selecting the audio track will bring the exported file back into the project and put it in a new audio track in the same position as the locators. You can also choose to create a new project with the exported audio files and another cool trick. You can choose it right from here if you want to export the file and transfer it to your soundcloud account. So let's export the piano. In the beginning, we console of the track and export to Steri out or selected from the list. I'll just located real quick. That's if it's this one. Yes, all right that said. The locators around it give it a couple more seconds in the end, changed the name to opening piano that's cancelled. Amano and I want to bring the exported part back to Cuba and export. So we want to copy the file into the Projects folder, so we'll check the first option. Whenever you're importing a file with different resolution than the one in your project, you will be asked if you would like to convert the files to match the project format. I recommended to check these options, or the sound will be worked, and due to the former differences, they'll sound faster or slower. So press OK and the track has been added to the bottom. Let's move it up under the original. Now we can disable the original track, so it wanted to fear Go to the visibility tub and simply remove it from the list you consider it's highlighted. There you go, then whenever you want to get it back. If we need to fix something, simply show it again and enable the track. And this is how you don't lose anything. It's time to move to the advanced section. In the next lesson will talk about the edit screen off the instruments and different effects 10. Edit Screen and Effects: the instruments at its screen is unique forever instrument to use, but with a basic understanding off. The main parameters you will be able to find yourself are on most software's. We'll talk about the most important parameters and also about effects and inserts. For the explanation. I'll have two instruments open. The 1st 1 is the Hallion sonic that we know, and the 2nd 1 is a synthesizer called serum. Let's begin with the basics. In every instrument you can navigate between presets, usually located in a list on the top or in the middle. They are organized by their main characteristics and sound types, and you can also use the arrows to jump between them. Designed the sound. We have two main features inside the envelope, or EMP, which are the main components off the sound. The most important features you need to remember are the attack, which controls the time it takes the sounds to reach its full velocity, and the release that controls the tail off the sound. From the moment you left the key. So in synthesizers, you will also find the decay, which controls the length off the loudest part off the sound. After the attack has reached its maximum velocity, and the sustain, which keeps a sustainable volume after the length of the decay has ended. Sounds a bit complicated, but you have to play with these parameters in order to figure out how they're working. You can balance between Kay and the sustained to get some nice plucking sounds. Every precept you choose is coming with a sound already set by the company. You can play with the settings and change the sound that where you want. Now let's talk about effects and how to use them. In most instruments, you have a designated screen for the effects in serum. It's right here and in health and sonic. They are in the effects tub that started with serum. Since the effects. There are a bit simpler to handle, starting with a delay, which is coping the sound you're playing and decreasing the volume gradually. Remember, ask. It's when you stood on a big cliff in the wild and yelled Echo through. This is exactly what it does. Make sure the sink is working to match the BPM off your project. You can control the time. It will take the echo to be heard again thing and in some delays, even control it between the left and right speakers. Feedback is controlling the amount off repetitions. You can change between several types of delays, and the mix, which will be in every insert from now on, will determine how much you will hear from the original sound and how much only from the effect itself. So make sure you were mixing in the right amount. Next is the reverb, emulating a room size to give the sound a bigger feeling like when you were standing in the opera whole church or a cave. There's a big space when you're speaking or clapping your hands in the specific reverb. You have two types the size off the room de decay, which is controlling. How long will it take the reverb to begin? The low cut and high cut are controlling the equalizer off the reverb, which we'll talk about soon, and the spin is something unique for this reverb. Many effects have special features off their own, so make sure to test them as well. The equalizer, or CQ, is using to shape the frequencies off the sound. I don't want to get too deep since CQ belongs mainly to mixing. All they need to know is that frequency parameter is controlling. The frequencies you want to effect again. Is the amount off the effect either increase or decrease and cue is determining how many nearby frequencies are affected. The filter is like an IQ you. But while a Q is used mostly to cut annoying frequencies and strengthen the better ones, filter is usually used to cut or strengthen a big portion off the sounds frequencies to make it more unique. If you use them during motion, it sounds the best. We'll talk about that in the automation lesson. You have many types of filters to choose from. Cut off is the point off the cut resonance is pretty similar to the Q. In the equalizer drive is boosting the sound coming out in some filters you might come across. Some make you parameters, and the pen is used to determine how much of the effect will go to the left or the right speaker. The compressor is also something mostly used in the mix, and its purpose is to lower the volume dynamics in the sound, controlling the compressor on its own requires a deep understanding off the sound structure , and I really recommend you to live it to the mixing engineer. I do encourage you to learn the parameters and how it works, but don't export anything with compressors on them. The phaser is duplicating the sound waves and moving them in order to create phase in the sound. You can control the movement speed the depth of the effect frequency affected total feedback on the location off the outer duplicated waves. The flame jer is like multiple phasers combined. It's pretty hard to explain what both of them are doing without getting into sound physics . But the perimeters are working the same way in both. While the sounds are different, theme chorus is also duplicating the sounds but changing the duplications, times and peaches to make one instrument sound like a group. The rate is telling you how fast will the duplication happen. You can set the distance off the duplications from the original sound. Here is the depth off the pitch, shifting in the duplications, how much you can hear of them and also here you haven't thank you control. And finally, the distortion which will push the sun waves to their edge and give them the rough sound you hear in rocket Ours. You have types of distortions. He que parameters on the drive that pushes the way. Now that we know the effects and how to use them, let's go to Hallion Sonic in there. The effects are arranged in four lists. Let's select from the rectangle in the first row every day and a reverb in another one. I'll add a distortion to boost the sound a little bit. And in the Finalist will put together a course, which is under modulation with other sound modulating effects on Let's Look for a Flame Jer in the search bar. There we go. Now we need to add the effects to the instrument. I'll change it back to a piano. I'll go to mix, and since the piano is in our first slot, you can say it's in the same line. We have a full control on the parameters. FX 123 and four are taken from the Fox FX one to DRI and for in the effects step. And if we click on the bar and drag to the right, we can determine how much of the effects on this specific ox will enter the piano. Now let's put the main part on a loop and put it on solo so we can concentrate on Lee on the piano and let's play. Okay, this is too much. Let's decrease to send a little bit. Now go to effects. And by pressing on the E to open the effects editor screen, you can see down here in the bottom, we can control the parameters. Let's do the same with the river. Go to the edit off the reverb on into the mix. Increased descent Just a bit. Listen carefully and don't rush. Building your sound takes time and concentration. Okay, kid, this is sort of what I need. Now let's do the same with distortion. That's Adebayo fatigue distortion to give it some more depth. Okay, we got it. Now let's go to the course and the flame, Jer. That's add more rate to hear the chorus better. Okay, not to deplane, Jer. A little less feedback. We can turn off the effect to hear how it sounds without it. Okay? And let's reduce the better off the mix in the close. Okay. Sounds good. Another point to mention is that every effect you're putting is affecting the one after it , which means, for example, that if I'll put the distortion on top off the delay, click on the F and drag it on the next empty space. The delayed sound will be distorted. If I'll switch between them, the distorted sound will be delayed. Eso the effects of the instrument are quite cool, but unfortunately we can't use serums effects on health and Sonic. And we can't use hellion Sonics effects on serum, and it goes the same with every other instrument. This is where we're using the inserts lot in Cuba's, which I will show you in the next lesson. 11. Track Inserts: as a continuation to the last lesson. Some instruments blogging are pretty neat, but sometimes in order to have better control on the effects, using same parameters on several tracks and having mixing abilities, we turn to the effects you can load directly on the track itself. There are two ways to get there. The quickest is by clicking on the which by now you should know is opening an edit window. And here we have access to many different functions. Weaken do on the track, and from right here we can load the effects. Also, you have a quick access to a very basic equalizer second option, which is more convenient when mixing is to click on the second tab with the name off the track and then on audio inserts, I'll click on the first rectangle to open a list off all the inserts I have in Cuba's hand off some that I bought and downloaded. Let's go to the DeLay folder and pick moaning delay. You consider We have similar functions like we had in Hallion and serum, and the blogging is working exactly the same way. That said, the delay on 1/4 and reduce the mix to around 12%. Okay, let's close the window and look for a reverb. I'll click on the next rectangle and look for a river in the search bar R E V E. And here's the list off all the rivers in Cuba's Let's Pick the Reverence, which is emulating actual spaces like a concert hole studio and even itano. Hello, that's lowered the mix and give it a listen, just like the outer effects whistle. We have similar parameters here, but every effect has something unique off its own. So make sure to investigate that. Also, the effects here are working in an order, a swell and are affecting the ones after them and being affected by the ones. Before I have a list for you in the Donald section with recommended order, click on the E or anywhere in this area to get back to the edit screen off the insert. Click here to turn the insert off. Click on the arrow here. If you want to change the insert, let's switch the motor delay to a stereo and yours pretty much the same parameters. Just put an eighth on the left and 1/4 on the right and also reduced. It mixes. And if you want to delete them, the fastest way would be to click on the effect and drag and drop anywhere outside of the list, or simply choose the no effect from the list. And in order to undo or redo any action it did in one of the inserts or related to the mix instead of Control Z and Control Shift, see simply press all dizzy or out shift NZ. Now let's add a little chorus switching to the top off the list, and that's here. It preferences, all right. Very subtle distortion. The best one would be the tube. Just a bit stereo that's awesome, omitted Top. I just noticed that in most inserts, you will also be able to find presets usually located at the top. That's my best, all of them, just for a second to hear how it sounds without them. Okay, nice difference. Let's say we really love all the effect on our piano so press on the preset button that we know in love and save all the chain off effects we made here for future use. Piano Ballad. Now I'll delete them and could always low them All right back. If you're feeling a bit adventurous or just lazy, you could always pressed on the prison bunk and pick from crack preset. Now, in here, we can look for our specific track, which is containing a piano, and pick anything. We want to simply load different Cuba's effects that will suit the sound, and we can enter at it and change it that way. I wanted to talk about something extremely important regarding to the inserts. The most common usage of the inserts is usually in the mix and mastering. Now a good mixing engineer is perfecting his years and equipment for years. I know it took me long enough, and I'm still learning. By all means dry, working with inserts, experiment with them, learn how they sound and what makes them unique. But when you export the files into audio and sending them to the mixing engineer, let him deal with the inserts. The delay, river compressor, CQ limiter and many other Blufgan requires special attention by someone experienced. So be patient, learn and give your song special treatment it deserves. The only inserts I do recommend working with are the distortion and maybe some filters, but whenever you're exporting them, make sure to export also a clean version. So the sound engineer will know exactly what you were aiming for when it comes to effects on the instruments, mostly every instrument, your opening is using inserts. And if it sounds good on song labor the way it is, unless the reverb is too powerful or there's too much delay and maybe then you can ask this sound engineer if there's anything you need to fix or re sent him again without any effects , it's very important for the song and for the mixing, so make sure to constantly talk with him. I will make an intensive course about mixing in the near future, but for now, trying to focus on the production the hardest and most important part off the entire song, I will make a video in the bonus section, talking about how to export file the correct way for the mixing engineer. Make sure to check it out. In the next lesson. We will learn hard to control our media keyboard a lot better 12. MIDI CC Learn: I wanted to stop real quick just to explain you exactly what media is. The meeting is a short for musical instrument digital interface, which means that basically every key knob, slider or feature impressing on the MIDI controller is sending a medical man to the computer, which, with help off the instrument, convert this command to an action assigned to it. Let's look just, for example, on the piano we have in front of us before press on the C one key on the Medicare board. The MIDI keyboard will send an action with the amount of pressure made is the velocity to the hellion sonic, which will translate this action into sound. The great thing about me is that it's easy to assign new commands to it. I, for example, have an M audio oxygen 49 media keyboard with sliders, knobs and pets, and I can assign the media actions off these knobs and sliders to effect variants in the edit screen and improvement workflow. Just, for example, let's control this knob with the one on the keyboard. That's right Click Learn CC, which means control, change and turn one off the knobs. I want Let's go to the second, um, and this time move the slider. Now you can see I have full control from the MIDI keyboard. In some keyboards and media interfaces, you have an option to control different variants in Cuba is such a record. Stop play the failures for the volumes or the knobs for every feature you decide you want to take it to. For some new media interfaces, you confined drivers and explanations in the manufacturer's website. Simply type in the Internet search. Bar the name off the interface and Q base, and you'll find instructions. If you also have pads on the keyboard, you can use them and plan them for life session and even drum with your fingers or a more human touch. We already have drums here, and I don't want to mess things up. So I'll duplicate the instrument. Right click and duplicate tracks, which will cooperate a track with all these variants, and you'll see a D in the era of name for duplicated and opened the any screen. If you have a pet midi controller, you can change which controller will play the instrument by clicking here and choosing your desired one. The pads in most keyboards are mapped as notes on the keyboard itself. For example, if I press on my first bed, it's playing the C one key, which you can also play on the keyboard itself. When I move up with the pads, everything is getting a bit mixed up. Let's organize it a bit. I have eight pads and the main rum pieces. I need our kick, snare drum, closed heart and open Hyatt ride crash and two times a total off. Eight. First thing we want to do is to take all the drums were using and put them in an order one after the other. I want to snare to sit on the second room, so I'll drag it onto the percussion pad and place it on the second row to switch between the pads and also changed all the rest. Hired close on open. Nice ride and crash and both thumbs. Now, in the current situation, Groove agent is locked on its own drum mapping, which won't allow us to change the pads we can free, are controlled by pressing on the use hardware control method button. The hardware controller is your midi keyboard. If you find the download to your MIDI controller. You can fight it right here in the drop list. I don't have a downloadable mapping for my keyboard available, so l quickly said the pads on my own in order to do that. All right, click on the pad. I want to change. The kick is already in the first path, so we'll start with the snare. Click on edit or learn trigger Note. And now the name off The note is being highlighted, allowing you to rewrite the Patty want on this specific one. A touch on the second pad will jump into the next one, which will allow me to press on third and continue all the way up. I'll check the notes again to see if they're sitting s I want us and we got a duplication here. When impressing this note. Another one is playing. This is happening because this note up here is already signed to the pad I designated for this note. So both of them are playing. We also have some other applications and in order to remove them all the right click on the note. I don't want playing and under trigger note, I can assign them to a different note that I will most likely won't reach. For example, somewhere around the eighth active, we can continue and changing the other notes we don't need now. I wanted to emphasize that what I'm doing right now with the pads is best for life performance. If you're in the studio, my recommendation is to leave the notes in their original place unless pressing the pads really helping you with the writing process? Okay, let's check the pads and awesome. No duplications. If there is a specific bad you don't need, you can right click and press reset pad to delayed what's on it. And now you can play on the past the way you want. The good news are that most plug ins are working with this CC learn system by right clicking on anything you want to move, press, learn CC and then move the knob or the slider on your keyboard. But what should we do if there's a plug in that doesn't have the CC learn, there's an easy solution for debt. I'll show you an example. I'll change the groove edge into an instrument I have called Nexus Next. This is a great simpler with many great sounds. But the main problem is I cannot do a C C alone like I did on auto plug ins and right clicking on any parameter doesn't give me the learned CC option. So in order to make this work, we can use something in Cuba. It's that is called quick controls. You can see here on the side that it's the tab in the bottom. When we opened this tub, we have eight empty slots in them. We can insert parameters we want to control with every knob or slider on a MIDI controller , for example. I'd like to change the main filters cut off, but none off. The knobs on my keyboard are affecting the ones in Nexus, so we need to make some adjustments, go to devices and device set up from there, go to trek quick controls and change the MIDI input to your MIDI controller. Now we need to synchronize our knobs with the parameters here, so I'll check, learn, highlight the first row and move and knob on the keyboard. You can see the address is changing here when it's learning the media command. Let's do the same with the art arose. Highlight, move the next knob on your keyboard and so on. Now let's go back to the quick control Press on L to learn what parameter will be on the first rectangle and move the parameter you want in the software. Cuba's is learning the perimeter you want to control with the quick controls, and when you removing the NABE days invented first in your quick controls list, you have full control on the perimeter. We can add some more by going to the next rectangle, moving or clicking on other variables we want, and we will have full control on these parameters from the knobs. There are also some buns you compress, and when you're moving the knobs and going above or below the half point, it will trigger the bun on or off. I just noticed that some buttons are not working with the quick control when you're done editing the quick controls, don't forget to turn off the L so it won't write new stuff. And when we're done, we can save this list. It's a preset from right here that's called it nexus, and whenever we want to load it, you can find it here. If you got all mixed up, you can always the later perimeter by thinking on the name and then choose the first perimeter. No parameter. You can delete the entire list if you press here, and you can also use the read and write for automation, which we will learn about in a few more lessons. If you're starting a new project. And from some reason, the knobs are not responding simply going to devices. Device set up and in the trek, quick controls breasts on reset. Don't here, this should fix the knobs. The best thing about the quick control is that whenever you're opening a Cuba's instrument like Helen Sannikov, River agent, the quick controls are being arranged automatically in the least based on the main parameters in the software or other commands you might find helpful, like volume panning and are things. And the cool thing is, whenever you're changing one of the parameters or resting off them, you can always return to the default position by clicking on this arrow right here. Use it, change it and rock the stage is wherever you go in the next listen, we'll discuss about the court Rex and how to use them to make a whole song 13. Chord Tracks: cords are fundamental in music. They are basically several notes combined in a scale together or one after the other, and they used to build the entire structures off songs. The court track gives you an easy and quick access to a musical procedures. Court progression. And while being designed many for people struggling with writing court's order progression , many musicians and producers use it to come up with new ideas and deal with the horrific writer's block. Let's use the core track in our song Toby of the chorus right Click on the track column and go down to court track Notice that the court track cannot work on his own and is triggering other instruments you have in the project. So we have to make a link between the core track and the instrument were using. Click on the Use Monitor track to open a list of all the instruments in your project. We're looking for the piano, and there it is. Now let's write the segments we want to play, hold out to switch to a pencil and press on the places you want to put your courts in. I'm putting accord on each bar while the 3rd 1 will last two bars on the excess. We will put the courts double click on the X to open a list of court combinations. Now, in the terms of musical theory, cords are sitting on the notes we have in this scale made from a total of 12 notes, which are called the root notes. Starting with them, you can add notes in an order that will give the court a different feeling. For example, when I'm pressing several keys on the keyboard in this case, if let G and B flat it's making an E flat major chord, it will change. The G two a G flat will have an E flat minor chord. If it's a bit confusing, check out finding the scale video, which explains a bit more about the court structure, and basically we can move our fingers to understand the type off the courts better. The second list is responsible off our record type, which will determine the cords main character, the therapist called Tension, which will add US notes that are not in the base off the court. Think of it like a decoration. You can choose attention from the list or click again to disable it, and the finalist called it. The bass note will change the lowest note off this cord Here. We could also click to change the notes or click on the same note in the root note to disable it. For now, let's stay on a flat major now for the next court. Let's double click on the X right next to it, or click on the arrow right of here to never get between the course on the court track and click on the court assistant tab. The assistant is showing your cords suggested by an algorithm called Circle Off Fifth, which I will explain about more in the next lesson. The complexity on the bottom will determine the simplicity off the course progression, while the lower is the more common and simple is the progression. That's big. What assistant has for us that my turn into a nice combination. I'll pick B flat as the second cord and for the next one, that's big F. Let's hear what we get. Okay, sounds pretty good. You can add more courts if you want, by pressing on the plus up here, which will add another one in the bar distance away, and that's also make it an F. Now that's dragged the courts into the piano track and there will form in a box. Now we can enter and edit, change the functions and create complete parts by right click. Go to glue marking them all and press. Let's also get into the box and extend the F chord by gluing both courts together. Mark the box Breast Control Day to duplicate. Let's do it two more times and we have a course. When you were done using the court track, don't forget to mute it, or both of them will play together. Now let's add the base bad. We have here to the chorus, and let's say my piano skills are not that good. To fix that I can connect any instrument to the core track and having its standing directly on the scale. And now let's play all right. We had some mystics, but it's very easy to fix them with the core track. First, make sure the notes you want to change are highlighted, then click on the court. Step right here on the side and person off under full court track to open a list Breasts, chords and scales. Check the second option to synchronize the track data with the core track breasts. Okay. And voila! All the wrong notes have shifted to the correct scale that's here. It okay sitting much better. Now you can enter and edit the notes. And whenever you're not sure if we're standing on the scale, market the notes and pick chords and scales from the list again, Another cool option that might give you some inspiration is the ability to our page it the courts with simple effect Arpeggios are basically the notes paid separately or in segments instead of simultaneously on the left. While you're track is highlighted, go to media inserts press on the first empty space and shoes are Patch s ex. This baby has tons of options to choose from. Start by picking a present from the list by clicking here. Let's put the tracking and look for a second and press play. It's a bit hard to hear the piano, so let's solo the track much better. That story, some water presets thought this one, Let's get going. That's not so bad. Now as we listen to it, I can change the parameters make it sound more like I want to. That sounds pretty OK, but what if you want to change some notes in their PDO? It's pretty hard to change them from There are patchy, but there's an easy way to transfer everything to hear into the track. The way to do it is extremely simple. First, make sure the track is highlighted and soloed. I'll explain why in a second, and make sure the box you want to changes between the locators and now go to the media tab and go to merge median loop. This action will merge all the millions from all the activated tracks into a single box. This is why I solo the piano because this is the only media I want. Keep the inserts on since we want their posture and press OK. Now all the notes from their patch have been written on top off our box, and we can enter and edit exactly what their party has made. There's only one problem. Remember the diagonal lines. It means there are layers on top of each other, and if we play both of them, oh, I'll turn off their posture. The old books and the new one will play together, separate them, click on the box, hold control to keep it in place and drag it to another instrument. Now they let the old box and return it back to place nice and easy. In the next lesson, I will talk about the court bets, which is a cool option added in the Cubist nine come to get out. 14. Chord Pads: a cool new future, Steinberg added. In Cuba's eight is the court bets, which are an extension off the court tracks we discussed about in a previous lesson made especially for a live performance or just other visual way to organize your cords. Let's continue with the sound of the piano from the last lesson. Not together the core pets. You can show the lower zone right here and go into the core pats or while highlighting the instruments, could go to the cords and press the play near the core pets, or open them the fastest by holding control shift and see. So in front of you, there is a piano like structure off pads where you can change the course as you please. We can change it, repressing on the arrow on the left, off each pad and selecting court just like the court tracks I showed you earlier. See the highlight the piano active on the top. This means that you can play the notes on your maybe keyboard. You can use it for live performance or recording the courts in your own rhythm. Now, if you notice the complexity is not here like it was on the court tracks. In order to get there, click on the court assistant bun right here in order to make the first note in the pads, which is the root note. The center off the court assistant in the court assistant. You have two settings. First, is the proximity like we had in the last lesson? Well, the note right here is the root note, which in our case, is e flat, and the further you go, the more complicated is the court. In the progression. You can drag the courts to the pets to make some live arrangement for you or to any other purpose unit, or drag it into the track itself. Right. Click on any of the courts, and you can send them to the next empty pad. Or you could send them to an empty pad and make them the center off the court assistant. You could also right click on any of the pads and make them the origin off the court assistant. In case you're playing with several scales in the song, The Circle of 50 AB is a method based on a musical theory, stating that you could move through all off the courts in a given key. But picking the next court based on the fifth tone off the previous court confusing I know but unity. Remember that the outer circle shows the 12 main courts ordered in fifth, while the inner circle showed the peril of minor courts. Old actions were made in the proximity. Time could also be applied here. No, let's focus on the pads. You can click, drag and switch between chords. You can change the voicing off the court to make them sound higher or lower. That will bones the lowest note up or the highest note down and active. Just noticed that changing the voicing in one pad is affecting all the outers so they could fit to each other. You can chain pads to the rest by right, clicking on the desert bad and making sure the adaptive voicing is checked. You can also change detention way discussed about in the previous listen on. You can also on a sign pads if there are some chords you don't need, you can drag courts from the court tracks through the pads. We can record the pads with our Medicare board. You can, of course, drag pads to the core track and instruments, and you can also press on record and go to the court assistant and play on the courts while it's recording. We're almost done. And I really want to show you some cool tricks that could really help your playing up here . You have a way to change the main structure off the courts so they could play like they would be in a piano like we play till now. Or like a guitar. Now, by picking a guitar sounding instrument, the court you play will match a real guitar playing style. This will help the authenticity off the instrument. I happen to have Eric camp for guitar sound. This is how it sounds, s a piano. And here s a guitar. It's fantastic when you're using arpeggios and final trick entered the settings off the control pads by pressing on the right here and go to remote control. Here you can change the voicing tensions and transposed the courts, which I would live alone. Now I'll press on the media, learn and move one of my sliders on the keyboard or a knob. And now I can quickly control the parameters just by moving the slider or the knob, which could really ramp up the playing for me. Just don't forget to switch from guitar to piano. This is the voicing, and this is the tension. It sounds a bit better on classical music. Now I can press, record and play to make the song even more alive. Next lesson. We learn how to change effects and variables during the song, an action called Automation, which is one of the most crucial things when it comes to music production. 15. Automations: when progressing through the project. Sometimes it is necessary to have changes in the crack enduring the song itself. This is where the automation comes in. For example, let's look at the piano. I want to create a small increase in the volume. What the piano is entering the song. The Helen Sonic is known as a multi Tim Brel instrument, which I'll explain about more in the next lesson in these types off instrument, I would recommend it to control the volume and the pan directly from the instrument itself . In other instruments, you can control the volume directly from here now, to implant the automation, I'll press on the W on a track testing right. We will see the right, and the read automation is in many places in Cuba is for your convenience, including in the instruments, while the W is highlighted. Almost every action I'll make in the tracks, main settings, inserts and almost all the functions in them and added screen for instruments while the project is playing will be saved to the track and be read every time we play in the specific time the change was made. How simplified while the right is highlighted. I'll make a slow increase in the volume. I'll start from around minus 18 and play. Let's go back. And when I'm playing, you can see this lighter moving up. If you remember the instruments function, listen, this is the same volume that we controlled over there. But like I said in that lesson, I rather working with the automation in order to see the animations we just did right. Click on the track and show used automation is for selected tracks. We have any automation cracks specified for our action. Every automation track will be directly under the track. It's affecting, and it will have a small gap you consider. The movements I've made with the volume has been written down as dot stood automation track pretty much like the instrument function lesson. We learn you can create new dots by clicking on the line and dragging them. They let the highlighted ones highlight the group and move it and do what we learned in the instrument functions lesson. Just don't forget that while the W's on every action you will make in the track itself or any other parameter related to the track will be written so When you're done writing the automation, click on the W again and make sure that our is highlighted so every automation you made will be read. I just noticed that whenever you're canceling the read automation, the parameter will remain in the last value. You've been in the automation. Now let's do the same for depending, I want depending to start from the left side and then slowly coming into the meal. Make sure the W is on press play, and then we'll just move to pan a little bit and once again, right click on the track and show used automation for selected trek. Now we have depending automation track, so let's delete the automation, said the pan back to the middle point. And I would like to be able to be in the middle by the fifth bar. So all created dot under the fifth bar to keep my zero point and created out in the beginning, move the pan a bit just to see which side is left and right. We can say the movement and left is on the bottom, so I will drag the first dot down, and the dot in the fifth bar will keep it in the mail. Now let's give it a little curve in Cuba's 9.5. When going with your cursor between two dots. 1/3 will appear in the middle, which you could move and make instant curves. The curve will also move related to the dots. When you're moving them, and between two dots on the top, you will find the symbol that when clicked and drag will move your points while keeping all the rest in place. Since I'm using version nine, we'll use the parabola, which will do the same thing. And there we go. Let's make a small pause to change some things in the automation settings. By clicking here or F six on your keyboard, I'll open the automation panel. Click on the settings will show some cool options, but for now, check showed that a track that was show transparent data off the track in the automation track for better control and reveal parameter on right. So every automation we write will show the moment its being created. Now I'll close the panel and go over to the drums, inserts and add a filter. I'm using quite a lot called the dual filter. Let's go to the place where the drums are entering the song. Make sure to start on the value I want press on the right automation, which we could also find in the inserts and move it up slowly during the play. And this, you can see. After the changes we made, the automation has popped up, and we also have details off the track and automation itself. That's also bypassed the insert. When we don't need it anymore. Just put it on the right position on There we go. Now let's go to the base, which I wrote on the Pet shop instrument. This is how it sounds like, and I would like to create a slow rise in the filters cut off in the beginning of the song . Let's use the quick controls. Click and learn. Move the perimeter, and then I'll have full control from my keyboard. Simple s debt. If there is something you don't like, you can simply rewrite the automation on top off the old one or delete and added it yourself. When you stop moving, the automation will continue from its last values. I guess you didn't like it. Automation. You can simply right, click and remove it like any other track or a shift in the lit to do it quickly. You can hide and show automation is you use by clicking on the arrow in the bottom off the track. If you haven't figured it out yet, the automation is one of the most crucial part in the production and the mixing process. In some tracks, you could use automation on up to 20 variables, and having so many tracks on your project is not quite easy to navigate. Let's take this track for an example. We have many automation is here, so let's clear some of them out of the way so they won't interfere on the top. Off each automation there is a minus that will allow us to hide the track. We can click and clear to give us a better view. And if you also want, we can switch between their positions so we can have an easier control. For every miner's. There is obviously a plus, which you can find in the bottom off every automation track and click on the plus will add an automation you already used and then new ones. You can click on any off the automation names to see a list off all the used automation that remarked with the asterisk and many others you can use. If you want to change the CERN parameter, you can pick any off. The automation is in the list or click on more. You have a list off. The entire automation is you can do in this track. You have the most basic, like the volume mute and others. You will have the equalizer under strip all the different inserts you have in the track with their own parameters and also on access to the edit screen off the instrument itself. You can also look for specific things in the filter. For example, let's look for an attack a T T. And if we pick this parameter, for example, it will replace the one repressed on, and we can do what we want with the new automation. If you have a group off automation is you don't want and you want to remove immediately, you can press on one off the animations and choose the automation is with a common feature you want to close. You can cancel the read automation by clicking on this button here. It's good when you have second thoughts and don't want to delete the track yet. And if you're positive about the automation and you don't want you to be accidentally re reading again, you can lock the automation and hide it. Don't forget that you can still see all the automation is used by right clicking on the track and show for the selected track. Show automation is for older tracks and also hide them to clear the view. So you're probably getting sick off hearing me saying the word automation is all the time. But the good news we're done. I know it's tough and I said a lot off information, so make sure you really go and practice. Next lesson is going to be a bit complicated. We're going to talk about the media tracks and how to use them. 16. Midi tracks in multi-timbral instruments: Every instrument track is built from the software containing all the sounds and actions and also from the media, which is sending. All of the actions were making back into the software combined. They're creating sounds. Theoretically, you can open a smelly instruments as you like, But if you have a big project like this with violence, shallows, drums, choirs, breasts and many inserts on each plug in your computer was slow down and stuck your processor to a level that your computer one function well. This problem, and many others that will discuss about it, can be sold with something called Midi tracks, which are working exactly like the instruments but cannot work on their own, Which means they have to be connected to outer tracks to make actions just like the core tracks. Let's dive right in with Helen Sonic now. I don't know if you noticed or not, but there are total off 16 slots available for different instruments in the hellion sonic. This awesome phenomena is known as a multi timber all instrument, which means that in this blogging you can load up to 16 different sounds and play all of them with the Midi tracks Let's add a choir to the main verse. You can highlight the number next to it, or click on the air off the second slot and search in the low tub on its press. On the keys. Things could work. Now, if I'm trying to play on my Medicare board, I cannot hear the choir Onley the piano. That's right. Click on the instrument crack, go to a track and choosed Imedi. As usual, you have the number of tracks you want to add and the name which will change to acquire. When the media track is open, you need to pay attention to these two things. First is toe, which instrument the media track is routed to. Since we read clicked on the track itself and shows the media track from there, it's automatically associated to the instrument in case he doesn't click here and pick the instrument from the list, which is, in our case, the piano. Now the media track will be routed to the instrument trek. The second thing you need to pay attention to is the channel. Click on it and you will see 16 channels, just like we saw in the hellion sonic so for each new instruments you open in one of the slots off the Hallion Sonic unit to make sure the channel on the mini track is the same as the slot. Whenever you highlight the media trek and press on the keyboard, you can hear the second instrument. The bar rising up and down on the media track is nothing. You know that there is a signal incoming from a MIDI controller, just like the same indicator down here. While the audio is coming straight from the instrument, many tracks are working exactly like the instruments you can record, edit, cut and use functions just like we learned in the right instruments. Lesson. Let's record apart. For example, after we finished, I can added the box just like we did the instruments and done. When it comes to automation in the Midi tracks, it's a bit similar to what I showed you in the automation. Listen, press W on the instrument track and then from the list, select the channel number you would like to automate. I'll choose the 2nd 1 for the demonstration, and now we just like we learned press play over the parameter you want and stopped to play now notice that the automation was written under instrument because it's still the main track that controls everything. Let's also show all the animations we used on the piano by hovering with your cursor above the automation name. You can see the S one or s to etcetera, which are indicating the slot number in the instrument where the automation was made. Don't forget, you can always hide the automation. You can also click on automation and go to more. And in the Instruments folder, which is in our case piano. You have an access to all the different slots, and if you click on them, you can easily reach every automation available in this General, Don't forget to use the filter in order to find what you need a lot faster. That's add another one. I want bells in the beginning off the song. So in the third slot I look for bells. Okay, I'll take these ones and open another MIDI track by duplicating the one we have here to keep the routing. It's routed into the health and sonic good, and I'll change the channel to number three. Let's see if we get the sound excellent and change the name to bills. When you look at the main settings off the media track, you can see that the volume is on zero and depending is on off. And if we dragged a volume, it reaches upto 127. You can also see that it's moving into track itself Now. As you remember, the meaty is simply a command triggering to sort for to make an action we need and well in the instrument wreck whenever we moved the volume, or depending, it's affecting the total out boots and pants coming from the heroin sonic. These parameters in the MIDI track are related directly to the sounds in this slot, which means the output coming our off this lot is directed to the Hallion sonic and from the head and sonic. The sound is going to the cracks, main output, and from there to your speakers, almost all the action we're making. The MIDI is being measured between a scale of zero and 127 including the sliders, the knobs, the modulation and pitch wills and even the amount of pressure we're putting on the keys and the pads. When zero is the lowest value off this command, and the highest is 127. So to simplify it will go with the volume all the way to the end. The volume will reach what we have designated in the main instrument, which is, in this case, zero and only. When you move it for the first time, you can hear the differences. So let's continue with the bells. I'll delete the duplicated choirs and go to record what I need in the beginning. I want to write an automation to make the panning move with each new note, so make sure to write on the media track and play and daughter Mission is written on the media track. Running some automation is under immediate will. Save us some space in the instrument trek. Don't forget that you can automate the main settings, such as Mute and the volume. I know this lesson was a bit complicated, but we're not done yet because when it comes to inserts, it's a whole different story. And about that, we learned in the next lesson 17. MIDI Outputs: After successfully opening MIDI tracks and connecting them to the instrument, we might want to be able to load inserts and effects on them. The way to do it is a bit tricky, so I'll try my best to explain. Like said, before the multi temporal instrument in this case, the Helen Sonic is working as the main output off the different presets we loaded in the slots from Helen. The sound is going through the track heading directly to the main output off Cuba's and from there directly to your speakers. So this procedure is quite simple. But whenever we want to put inserts and if them which we will load in the insert step, whether on the instrument wreck or the media tracks will affect all the other presets in Hallion being connected to the main instrument track. A solution we have in Cuba is to open different outputs to the Hallion, sending their the preset sounds on the different outputs. We could load the inserts regularly. This is how we do it in the instrument track right next to the name off the instrument. There is a little symbol that direct you to the available output routings you can activate . As you can see, there are a total off 16 just like the available number of tracks on the hellion sonic. And whenever we're checking one of them or the 2nd 1 for this example, it will activate another output that will allow us to route every sound that comes out off the meaty straight into this output under the instrument track. What automation is is to be. You can say that we have new outputs created first, since we're going to connect the choirs to the specific output. Let's change the outputs name done in the instrument. Go to the mix tab and in the second slot under the output column, press on the main to open drop list off all the available outputs and select the 2nd 1 Now the quarters have an output off their own, but we still need to configure the meaty track to go to that output. So highlight the media track and go to the second time with the instrument's name you consider we have a new tab created called Outputs. Simply click on it and select the 2nd 1 Now, whenever we're playing on the media track, you can see the volume coming straight from the second output, which means it's working. All the inserts we had connected to the Italian sonic have disappeared from the insert slot , and we can load our own. Let's add a stereo delay, for example. Check if it's working on, we got it. I'll just change the parameters, All right. An advantage we have in outputs is the possibility to see the inserts automation directly under the related output, which is great for the organization. Don't be confused. And keep in mind that any change you're making in the instrument itself is still going to appear under the first output since it's still related to the main instrument. Oops, forgot to write. It is now that you have an option to control the volume from the new output you created, though I still recommend using the media track. Since it's a lot more convenient. Let's do another quick one for the bells First, the most important that's at the output from right here. Change the outputs name toe bells, then change it in the instrument to number three under. In the media track, check if it's working. No, it's at a big reverb in the inserts. I'll pick the revelation this time, and it's tried to pick a preset from the least often old cathedral to match our bells. Well, like the sound of that, I just noticed that another cool option you can do with it is to place several MITI's on the same output so you can use the same plug ins. This could give me more freedom to change the volume directly through the media track for each individual track and control the inserts directly from the output. There are many types off multi temporal instruments, and I will cover one of the most used ones called Contact. In a bonus lesson, you can also use the media tracks and the output system. We just learned on many types off drum instruments, though I have to warn you in advance. I am not using this system at all with drums, since it's taking a lot of time and effort. And whenever you want to separate the drum pieces in order to start at mix, there is a much simpler system which I will show you in the next lesson 18. Rendering: the next feature I'm about to show you is available only from Cuba's eight and above. If you're using older versions of Cuba's, I'll show you the alternative in the end of the lesson. But keep watching the video because I'm giving some important tips. Whenever we have many instruments and media files open. A good thing to do whenever you're feeling confident about the way they hear and sound is to expert them to audio files. From there, you will be able to edit the instruments a lot easier with less stress on your computer. We already learned how to export files. But in Cuba's eight and above, Steinberg released a new function that can convert any track to audio in a matter of seconds. This function is called rendering, which you probably know if you have ever worked with videos. Let's focus on the drums we have right here. Let's say I'm completely satisfied with the way the drums currently sound. Every piece is sitting in place and played in the velocity I want. Now let's split the track to all the different drum parts in it. I'll add a media track. I'll explain why in a second and moved there. All the drums, it's connected to the drum track. Good. And now, while highlighted, go to the media tab on top and press on these old part. This window is giving you the option to separate all the different pictures in the track, placing them on their own tracks. Now we need to separate the peaches, so make sure the second option is marked. Optimize display will put the peaches inboxes, matching the total amount and size off the notes, and his auto lanes will put all the different features on top of each other in the track you're in now creating lanes, which is something I don't find useful in media tracks. So breast OK and every pitch will be in a new media track. While the original one will be muted. The optimize display has blessed every note in its own location with the boxes around it. I don't like this option so much. So a click on control Z and reach to the dissolve again by holding control and right clicking on the holly track, opening the toolbar Oh, directly down here, Go to me D and Select is off. No. So, like the second option unchecked, optimized and okay. All right. I'll just move all the drums to get her, and we can return the box with all the drums back into the groove. Agent. Now, if I would do the dissolve in the instrument track, it would open a new groove agent for every peach we have, which would not only take more time, what could slow down the computer, which is something we don't want? This is why we did it through the media track. Now let's change the name so we could recognize everything. You can use the names off the peaches in the days off tracks we have here in open Hyatt and also a closed one. They're coming from the same drum peas and only play differently. So when you're sending it to the mixing, it's best to put them together on Let's continue. So we also have to snare places and to rights. That's glue these pieces together. Another thing to pay attention to is that all the many tracks are routed to the group agent and they don't have different outputs. So whatever effect you're putting on the Groove agent, which is the filter we had in the beginning will still remain with all the meaty part. Now let's hide at all the parts or just the one you want to export. Hold control and right click on any of the boxes. Go to render in place and render settings. If you don't have the menu, go to edit, render in place and render settings. Let's go slowly over the window First. We have the drop menu when you select a separate events whenever you have several different blocks in the track. If you would cut the boxes, for example, they would render to order files the same as the boxes rendering S one event will join all the different pieces together and export them into one big audio file. I like this one more because in most instruments the sun will have some tail and exporting inboxes might delete some of the sounds. So just for safety, I like to export with this option. On next, you can select how to export the sound. Dry will give you a clean export without any inserts, You added. Though it will save all the automation. Is you made in the instrument itself and in the main setting such as the volume Panning and mute. Since we have a filter insert you want to hear select the channel settings. The complete single path and the master effects are exporting the trek and keeping the rounding the same. These options are related more to mixing, so we live it for now. When you have several files you want to export into one audiophile, just like the export we learned, choose any option but the dry and check the mixed down to one track. Next, you can choose. If you want to add some tail in the end of the box, you can determine if the perimeter will be measured in bars or in seconds and add some more tail right here. You can always extend the ending off the boxes yourself, but it never hurts to add a couple of seconds. Here you can find a bit resolution. I'll change it to 16 to match the bit. Resolution off our project in the name you can write what you want or by pressing on the lock. It will make the name off the render file as the name off the original track. But since the media track are not exporting any audio outputs off their own. The names in this specific case will match the instrument track. You can choose from here where to export the audio files, too. Default will always be on the audio file in your project folder, and finally, you can choose if you want to mute or a Knute the original files. After the rendering is complete, I'll put mine on mute so enough talking that's pressed on, Render every rendered file will be directly under its original. Let's give it a listen to see how it was exported with the filter drum sound. Fantastic. As I said, the older tracks are named after the instrument track. So let's quickly renamed the tracks by double clicking on the name in the meaty control See to copy than Tab to go to next track and Control V to Paste. Let's do it for all the tracks. Now we can read all the many tracks we don't need. I really recommend you to leave the main track just in case you would like to make some changes to keep it from interrupting a right click on track and choose disable track. Now by going to the feasibility tab. I can uncheck the drums and hide it. Awesome. Now, whenever I want to use this track again, I can simply show it right click and enable track. If you have many fast surrender, you can use the previously used settings and do the rendering without getting into the setting screen by person. On rendering place with current settings, cry to Makkah Kikkoman to make the job even faster. If you have older versions of Cuba's, it's going to be a bit longer than the rendering system but still possible. This is how you do it. I returned all the media files and let's say we want to export the kick. I'll solo the kick as the only sound I want to export and all solo the drums as my main output. Make sure to set the locators quick check, okay, and then go to the export window. Change the name to kick and make sure these options are marked to bring the file back into the project. By the way, you can see here on the side the outputs we made for the meaty in the Helen Sonic, the choir and the bells. Each output you're making is being read as the channel off its own. Unlike Meaty, which cannot be recognized in the export screen and will press on export, you will find the foul in the bottom off the screen and keep doing the same for every other Grumpy's. Yes, it's a bit longer, I know, but this is how you used to do it before you had the render option. 19. VST Installation: instruments and plug ins are an essential part when it comes to working with the door. This is why it's very important to know the installation process and what does every step means. First thing we want to find out is whether your computer is working with 32 or 64 beat. It's important because since the Cuba's nine version, the software is able to work only with 64 bit. Simply press on the start button and type about. Then enter about your PC and you will find your operating system under system type. So let's start with the download. I provided you a. Pdf file. With the list off free instruments you can use, you don't have to down a lot of them. Many similar sounds can be found in Hallion, Sonic and other Cuba's instruments, but some instruments can give you things that Cuba's can't. This is why I recommend you to check them out. The instrument will ruin. Stole today is called Tyrrell and six, which is a synthesizer made by the company. You. He This company is well known for their incredible synthesizers, So if you like this one, make sure to check out of products they have so in the website, click on the link to go to the download Roll down and I'll Donald the Windows version. It's down order. That's a compressed fall so he can use wind roar or seven zip or just open regularly from the computer. So that center first thing we can see is a bunch of text files, which I highly recommend you to read. If we click on the V C three file, for example, we can see the diversity. Three has some problems, and the company recommends to install the VISTE to instead. So let's close it. Double click on the installation. No next, read the agreement and click I accept and the next. Now this list is containing all the important files, which will connect hubris with the instrument. Heaviest E stands for Virtual studio technology is created by Steinberg, and this is what you need to install. You have 32 64 bit VSD. Since Cuba's nineties, working only with 64 this is what I need. The 53 is the newest BST version, and it has some advantages. I like the second base T, for example. It is not consuming processing power from the computer were not being used by the instrument. I usually installed a 53 but since the instrument has issues, I'll choose the VSD, too. Hey X, which stands for evidence audio extension, is working with another door called pro tools. If you have it, you can install this plug in. I'll keep it inject. And if the instrument is large, you may have some content regarded to data that you may need to install. Small instruments could be installed on Lee with a V Cities, but we'll talk about that later. Another thing to mention is that some instruments and plug ins could have something called Stand alone in the States. You'll have an approach to the instrument form your desktop and will be able to play without opening Cuba's for playing live or just practice. If this is an option you want, you might pick it from the installed content so oppressed next. And here is the most important screen. Every V. Steen Q base is being installed. One specific location. This is usually the path. If you want to be more certain, I'll show you shortly how to check it in Cuba's most chances are you won't see a path for the vested three because it's usually being installed to a default folder in the computer. So don't worry about it. And here's the instruments data path. I like to install it into the regular program files, but you can put it wherever you want. Just remember the location if the instrument will need a connection to the data and install after the installation is done. If you're Cuba's is closed, simply open it and you will be able to access the VISTE. If you're curious is open, you don't need to close and open it again. Simply go to devices or studio in Cuba is 9.5 and click on plugging manager in here, you can browse and go through all the plug ins that Cuba's can read from your computer. You have a list for VSD effects and for V ISTEA instruments in the black list, you will have the 32 files or far that haven't been managed to work. If there is some sort of authentication problem, you can simply press on the plug in and then reactivate. Let's click on the gear on the bottom. This will show you the locations off the VSD files that Cuba's can read from. You can add new locations if you want, and you can remove them from here. Reset to old, different paths and after you installed in your plug in breast here to refresh, give it a couple of seconds. And if everything was installed properly, Cuba's will tell you it has found a new software ready to use. If something went wrong, you will have a notification telling you that the Visteon's you've been trying to install have been sent to the blacklist, make sure it's installed in the correct father and that you have all the authorizations complete in case you bought it with money from a company working with dangles and licenses . If he accidentally installed a VSD plugging into a wrong file, you can simply copy it into the correct one or add a new path from here. This is how my folder looks like. All the installed beasties are actually dot the L files. Some instruments were contained only these files, so just copy it into the main Vesti files location. Now you can simply close the window and open the new plug in that's running. Let's look at the priest at least. Sweet, awesome plugging. Another cool thing you can do in Cuba's nine is to make it custom list off the plug ins. You have an order them in the way you want. Let's organize the VSD effects first. Let's go back to the plug and manager. Click on the plus sign empty and name your list. You can have one list in the order you want and ditch the vistas you don't use or make several lists for plug ins. Years for different projects. Let's make a preset for my favorite genre metal. Now I'll go to the hasty Effect and select the things I need for the specific genre. Creative folder. Name it guitars. And now I can simply drag and drop all the inserts I need. Let's start with amplitude, which is an AMP simulator you can see right here on the side, the version off the VSD. You can hold control or shift, were clicking and select several inserts and then dragged them all together. You can also change the folders and the inserts order. You can also use the search bar to find your Vesti easier. Let's make another folder for drums, vocals, special effects on basically anything I want. And we could also do the same list for the VISTE Instruments to reach the list. Go to inserts on open the drop list and select the collection from here. Just a left. Why I although obviously three on the list will have three lines right next to them. Same goes to the instruments via stylist. 20. Finding the Muze: today, I decided to talk about a problem many musicians face. How do you find them use for that? I gather 12 tips to get you moving on first and most obvious work with what? You know, If you're working on house metal, rock, dubstep, whatever, you know exactly how the songs are structured. So use that knowledge and work with what you know best. Try looking for musicians you know and don't know and try to see if you can figure out new things that will help you moving on with your song. The second is the exact opposite from the 1st 1 Work on another genre you're not familiar with. You could get some new inspirations for your song or even at up with a new song in the genre here, just picked. Who knows? Maybe this will be your next hit. The 13th is extremely important record. Every idea you have. I cannot stress enough how many times I went into the shower or went to bed and thought to myself, Well, I'm going to remember this in the next morning or whenever I'm getting out and I didn't and that is how I lost many great ideas. So take the phone everywhere. You just not into the child, right? If you have any idea, Paul, what you're doing record and then continue. I am using an application called Evernote. You can write their notes, lyrics, take pictures and even record yourself and back it up everywhere. The fourth tip is quite easy. Many software these days are using arpeggios, which is allowing you to take any notes or any court and simply divided into several notes . Way with the next tape, you should be a bit careful. Take a song and start copying it, not all the way with the beat, the drums or the instruments and continue with your own ideas. This could give you some new inspiration and could also help you to learn more how the song is being constructed. The next one is the simplest one in the book. Take your instruments and simply start jamming. If you don't want to play an instrument simply saying, you know, start beat boxing like Michael Jackson did, or take a guitar and starts drumming. Do we get something you could find interesting? It's good work in so many ways. Also, brother take another musician with you so you can come up with new ideas together for the seventh tip. Try to learn a bit of theory. I'm not saying all of it, but even just a bit could help you. You don't know, for example, that there are many erratic and Indian scales that you can use in order to make some new songs. Think about it. It could be interesting for tip number eight and with advised to use loops and presets. Not many people like this idea because it's not originally theirs, and they're probably right. But this could give you some new ideas and help you path your ways to a better song for teeth number nine, go crazy Trying to record things you've never thought about before. Use many effects or try to walk down the street and record dog barking or a card writing recorder's off sneezing or dropping and coin breaking less. Just don't do too much damage to your house, right? You can come up with many awesome ideas and progress with your song. The next step is pretty hard, but sometimes it's the best way to complete your song. Lock herself in the room, disconnect your Internet and turn off your phone and simply focused on completing the song We will come up with. Many crazy ideas will come up with things you already heard before, but eventually you'll get there. Tape number 11. Get bored. You have to do stuff that you don't like doing and that don't require you to think too much . For example, do the dishes wiped the floor, Clean your room, fold your clothes. Anything that could make your wife or mother happy? The final tip is to get your emotions running. Go out to see a thriller or horror movie, go out and see the beauty of nature. Go do something exciting, like watching a concert or listening to the Opara something that could get you emotional. This is sometimes what gives you the best ideas. 21. Finding the Scale: every musical piece you here is being made from one or more musical scales, and you can identify them yourself. We just little bit practice. Let's take this very familiar song for an example. In approximately 90% off pop songs, you can identify scale based on the first sound you hear. As the song progresses, all the courts and notes are playing based on something called root Note. The idea off the root note is the first not you, here in a musical scale, and the entire song is built on that note. Now back to the song. If you listen to the first chord, you'll be able to hear the main note in this court. And as the sun continues, that may note you heard in the court is still playing. Listen closely. The note you were looking for is F, and this is our root note. It's gonna be hard, but eventually you'll get there. In some songs, it might be a bit more difficult than ours to recognize the root key. In that case, don't stop it in beginning this into our records, this into the development and other instruments and try to hum or whistle the note that is sitting the most comfortably in the song You got to listen to your heart. Ah, so back to the scale. Starting from the root note. Wield Accord toe. Identify If the song is a major or a minor, the way to build a major or minor chord is super easy. From the root note count four keys to the right, and now from that note, count three keys to the right. That's a major. To find the minor chord, move three keys from the root. Note to the right, and from that note, move four keys to the right, and that's a minor. The single difference off moving the male finger one step. While the major chord sounds a bit happier than the minor chords, don't worry. It's not going to influence the happiness or sadness of your song. Now which of these two chords sits better on the song? If you pick the major, you're right. Now let's go to the second song. This song is starting within our paging in court and changing its melody a bit fast. But don't let it stop you. If you're getting stuck, simply return to the beginning and try again. I found the May. Not if you try to play the first chord, you'll find out that this is the exact thing we're looking for. So we're starting with a and going all the way to a major on. That's the scale. Ready for a challenge? Let's go for the 3rd 1 You'll find out that with singer alone, it's also possible Everybody got the monkey. Keep listening. Like I said, this song is pretty challenging. So don't be upset if you don't get it for the first time. Basically, you need to focus on the first notes he's singing. And if we're going to play, what is singing these are denounce. So let's take the 1st 2 notes. One of these is our main written out. Let's try the first note and play a major or a minor chord from this note. Let's see how it sounds with song. Well, both of them are not working for me, though there are in the scale. Let's go ahead and try the second note, which is the sounds a lot better, and this is a D minor and this is a written it. So I hope you find this video useful. Forget to use the musical skills with your instruments and your audio files. And don't forget to download the homework in order to practice a bit more about the musical scales. 22. Drums Simplified: drums are beautiful. In some songs, they're the center of the creation, making or breaking the entire song. When you encounter them for the first time in your door, it might be a bit overwhelming. What is Every drum piece went to use it and where this is what we're going to talk about in this lesson. After we get your temple set and the main feeling to the song, you start with the rhythm, and for that you have the cake and the Hyatt. It's all about the dynamics off these two combined. You can choose to put each of them exactly on the bit or arrange them in a way that could make some interesting combinations. The high head can be open, closed and everything in between. With these zones, you could be of some groovy beats that really spice things up. It's all about experimentation, so always try to shift notes and see how it comes up to you. Next is the snare or clap depends on what genre you're making. The snare will usually sit on the third beat or the second, and the fourth depends on how fast is your temple, but it's best known as the location on the song where you pop your head down while listening that's moved to the toms. Usually you have three, a high middle and the floor. The most basic use of them is in fields and transitions to next parts off the song, usually in the last bar. You could also use them in songs to build some awesome parts to build anticipations. The crashes are the explosive symbols used for opening new parts in the song or when playing. Rock and metal could also replace the Hyatt. The China and splashes are doing pretty much the same, but due to their unique sounds, they're not used quite as often as the crashes and could work best with finishing a big part. Or in Phil's. The ride is a bit unique in some songs, they can replace the Hyattes and can be played on their bells or the tips strike them lower on the tip, and they could function as a crash. I just noticed that due to their structure, they tend to last longer than the other symbols. One thing you need to remember, since we all have only two arms, hopefully we can use on Lee to drum pieces at a time, which means you cannot put one crash want Tom, and once they're together at the same time, you can put him one after the other on only two off them together, but not more than two. Don't forget that the kick is working with the foot, so make sure whenever you're writing acoustic drums, you're using these rules. And finally, cowbells. Not common in many songs, but when used can help with feels or being played in quarters and off Bates to give a stronger bit. So these were the guidelines for drums. I hope you take what I say. It's a guideline and noticed rules. You need to remember that we only talked about the basics. And when you expand your limits and learn more about the instruments, the crazier things and combinations you can do. Listen to other drummers tried different techniques and see what sounds the best. Don't be afraid to experiment, but the most important thing you need to keep the rhythm. If you follow this guideline, everything is going to sound fantastic. I believe in you 23. Conclusion: that was intensive, and we're finally done with all the instruments and media, and we know how to use them properly. But actually, instruments is only half off the business. We still have audio to learn, which is a completely different story. The next course will be all about audio, whether recording or using audio samples, working also with the media and the instruments all combined with audio and how to use it. We will record the singing will focus on special effects, special things you can do with the microphone positions, how to sing, how to do everything is gonna be a lot of fun and very, very intense. In the meantime, go over the videos and see if you need to strengthen anything. If you have any questions, join the first group and ask whatever you need. I want to hear your songs on the radio as soon as possible, and I will see you guys in the next course