Garageband for iPad + iPhone - A Beginner's Guide | David Miller | Skillshare

Garageband for iPad + iPhone - A Beginner's Guide

David Miller, Multimedia Artist For Primordial Creative studio

Garageband for iPad + iPhone - A Beginner's Guide

David Miller, Multimedia Artist For Primordial Creative studio

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24 Lessons (1h 43m)
    • 1. Intro to Garageband iOS

    • 2. Getting To Know The Garageband Screens

    • 3. Timing With The Metronome

    • 4. Timing With Quantization

    • 5. Arpeggio, Octave, Sustain

    • 6. Creating New Song Sections + Looping Sounds

    • 7. Editing Recordings In The Track Menu

    • 8. Techno Bass Sounds

    • 9. Techno Beat Sequencer

    • 10. Techno Session Drummer

    • 11. Techno Leads and Pads

    • 12. Song Structure and Organizing Parts

    • 13. Merging and Filtering Sounds

    • 14. Apple Loops

    • 15. Saving and Titling Songs

    • 16. Trip Hop Building A Song From Samples 1

    • 17. Trip Hop Building A Song From Samples 2

    • 18. How To Add Samples To Garageband iOS

    • 19. DJ FX

    • 20. Using the Sampler To Turn Voices Into Instruments

    • 21. Recording Electric Guitar 1

    • 22. Recording Electric Guitar Garageband Guitar 2

    • 23. Exporting From Garageband And Mixing In Audition

    • 24. Garageband Wrap Up

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About This Class

Garageband iOS is Apple's incredibly powerful mobile recording studio that allows anyone to play and compose professional sounding music.  It's allowed individuals to create natural sounding orchestras with little more than their phone and a pair of headphones.  

In this class, we explore how Garageband works and how someone can compose their own electronic music without any previous experience playing instruments or writing songs.  We'll also do demos of a retro techno track and a trip hop/ hip hop track.  

Meet Your Teacher

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David Miller

Multimedia Artist For Primordial Creative studio


I'm David, a multimedia artist in Phoenix, and my studio is Primordial Creative.  


I have always been interested in the visual arts from an early age- drawing, painting, and clay- but around my high school years I became interested in photography for the social aspect of involving other people, the adventure inherent in seeking out pictures, and the presentation of reality that wasn't limited by my drawing skills.


One thing in my work that has stayed consistent over the decades since then is I have an equal interest in the reality of the lens next to the fictions we can create in drawing, painting, animation, graphic design, and sound design.  As cameras have incorporated video and audio features, and as Adobe's Creative Cloud all... See full profile

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1. Intro to Garageband iOS: They're Miller Phoenix Bears on a multimedia artist, musician and educator. I want to welcome you 18 of course, on creating electronic music with GarageBand IOS. This is the mobile version of GarageBand found on iPads and iPhones. And essentially, it's a music production studio in your pocket. I've used this for my own techno ambient trip hop house and industrial music compositions for years, and because it's on a mobile device I'm able to create anywhere, be it on an airplane. Ah, playground. Watching my kids Fast food restaurants anywhere you can think of in this course will take a short tour of the GarageBand interface. And because I think people learn best by doing, we'll make a retro techno track in a trip hop hip hop style track to learn the tools. I've designed this course so people who believe they have no musical ability or training or timing will be able to design their own songs in GarageBand. What you'll need for this course is an iPad or iPhone with GarageBand loaded on it. I'll be using my iPad for screen recording, but the interfaces on both devices are very similar also. I think this course is best learned using headphones because I'll be utilizing volume and panning functions. And to get the most out of your music compositions, you'll need headphones for your own mobile device. With that out of the way, let's get started. 2. Getting To Know The Garageband Screens: so I'm gonna take you on a quick tour of garage band. This is the iPad version of Garage meant If you have an iPhone, you have the same controls there, just in slightly different places. And generally when you open garage Bend, you start with the song menu. So I have my recent files here by Click See all. I see a number of songs that I have created. Some look really complicated, some not so much. For example, when it says 60 pots and pans and has the iCloud icon on it only has one track. If I click the iCloud icon, then it downloads the song to my iPad and I can hear it's just a rhythm track made of pots and pans. The reason for it being called 60 is that it's 60 beats per minute. Go back to the upper left corner. We're going to create a new song so we can see the three other main screens. And to do that, I have to click back to GarageBand reasons that is, in the upper left corner hit. Plus, this is where you create a new song you have on instrument menu. This is thesis end of the four screens that I want. You recognize you have a lot of instruments here, and you might even see instruments that you don't have in your own personal GarageBand like this world instrument menu. This is something that's an ad on. It's a free out on, but I'll show you at a later point. How to get that. I'm going to pick the keyboard, going to pick alchemy synth from the sub menu, and now you can see. And now you can see our instruments screen where we play sounds where we do recording by tapping the red button at the top of it. Go ahead and stop that. Once we have a recording, you'll see in the upper left corner something that looks like a bunch of tracks. And that's exactly what it is. Not my songs and not the boxes next to it but this icon. So this is our fourth screen, the track menu. In this track menu, you will see all the instruments that are in your composition. So currently I only have this one single keyboard called the epic Cloud Formacion Keyboard , and you will see how many bars you have in your measure by default. You have eight bars, and then it kind of peters off from there because I didn't record anything else. 3. Timing With The Metronome: that clicking sound is this blue icon that I'm turning on and off that is called a Metrodome, and the idea behind the Metrodome is that you can keep time to that when you play your notes to all, go ahead and tap the instrument again. I'm going to switch this to something like a standard piano. Go back to the main categories. Keyboards, grand piano done, standard piano. I'll hit record. Now I'm playing was a little bit off, but you could see I mostly stuck to how the Metrodome is keeping time. If you find that Metrodome very abrasive, you have a few options. One is to turn down the sound of the Metrodome. So I'm in the wrench icon and the Metrodome account in menu, and you can turn down the volume here. You can also change the kind of sound of this. So high hat Rim shot no sound, which just would show the Metrodome clicking. Or you could turn it completely off by tapping the blue and then have a beat to your song. For now, I wanted you to understand what the Metrodome is, why you would use it and how to alter it so it isn't so abrasive and annoying 4. Timing With Quantization: so the timing is off slightly on a couple notes. And if you're beginning musician or even an advanced musician who has these problems and recording, it could be very frustrating to have to re record things from the timing is slightly off. Thankfully, modern technology allows us to fix some of these mistakes even after we recorded the notes . So I'm going to go to this part in the upper left corner that looks like a bunch of fade er's and we have a few sub menus here. Track settings Output, which includes the volume. So Hanning is to the left speaker of the right speaker compressor will limit the distance of dynamic range on your track meeting that loud parts aren't as loud and soft parts aren't a soft. They're a little bit louder. Trouble will either make your sound par sh and sharp or soft and dull base. Most of us know a base does. Echo can be used to duplicates the san draft, and reverb makes it feel like your space is larger when you boost it. So if you wanted to sound like you're recording in a big dome or a giant auditorium, crank up the river. Within these sub menus are more menus. Menus within menus on the one that we're interested in is under track setting called quantum ization, and this forces the notes to go where it thinks they should go. Even if you played the notes at the wrong intervals and incorrect timing, quant ization will force the notes to be correct. When I go into straight pick 1/4 notes, it certainly sounds more correct. But how can I tell? That's more correct. Well, I'm turning the quant ization off, so it says none. And I'm going to go into my track of you closed track settings, and I am going to zoom in by pinching the track, and you can see when I get to my second bar. I hit the note early, so this is the first note, which I hit late. My second note hit early third note early. Essentially, I was off on every note that I hit, and the Metrodome, when turned on, will match where the bar numbers are. I'll go ahead and turn on quant ization. Once again, it's in this mixer menu track settings, quantum ization, straight quarter note. Go back to my track view, and now you can see each note has been shifted to correspond with the start of a bar. The other options and quant ization included 18 1/16 one 30 seconds, 1 64th note and also a triplet and swing. I'll just show you what one of these sounds like when eighth swing Heavy because I played slow single piano notes, switching it to 1 32nd or 1/16 quant ization under Straight is not going to make a world of difference. But if you were playing faster notes, then you would notice a difference. So as you can see, it's a little bit looser. Get that little skip of a beat there on the triplet little Jazz year and towards the end, I don't think it makes a lot of sense for the purposes of this. I'm gonna keep it 1/4 note straight, and that's quantum ization. 5. Arpeggio, Octave, Sustain: the other things worth noting on this particular screen. One is sustained just here, and you can tell the difference between a note that isn't sustained and one that is, this is without and with. As you can see, the no has a very long decay. Also of note is this button in the center. Currently it says Elizondo, and then you have scroll. As you can see, I can scroll through my notes as I scroll through, you'll know on the left hand side where it currently read. Zero. If I scroll up, it's as plus two three. This is where you control what octave you're playing. So I hit. See here that's middle C if I go up. Anoc tive Still see? But it's a much higher pitch if you wanted to play notes at the same time, but they weren't all featured on what you can see on this particular keyboard, meaning you want to play ones that aren't accessible to what's currently showing. To the right of this, you can change how your keyboard is formatted. Continuing on to the right you have something called arpeggio, which we will definitely use in our techno song. What this does is it breaks up accord into multiple notes, as played 1/16 note octave range to not only doesn't play the notes as a pattern, but it plays them with an extra active because we have our active set to a range of two. So low, no and high note thing through, like instant classical music, classical by computer, it's changed the note range. 1/8 Notes. Let's change the note. Order two. Random. I will be honest. I have written a lot of songs by using random arpeggios as the beginning of the track because, ah, coming up with melodies is not the hardest thing in the world. But it's also not the easiest thing in the world. And if you are starting out a song, it's often fun Toe have a little bit of random ization thrown into the process. He don't turn on GarageBand with an idea. Why not record a random idea? You don't have to keep it through the rest of your track, but it could give you a great place to jump off, so I'm gonna go 1/16 note with their pendulum. Random. I'm going to pick three random keys on my keyboard. I like that. I'm gonna lodge it by moving the sustained and hit record because it's latched. It began the pattern when I began recording, and if I wanted to add on something else to this, all I have to do is hit some more notes during the quarter process. Now you might say, Why did it switch in playback to this instead of playing all the individual notes? That's because I have quant ization turned on as 1/4 note 1/4 note. Hear what it sounds like at 18 1/16. 6. Creating New Song Sections + Looping Sounds: one thing I noticed. I really liked the intensity of this bit here. And if I wanted to carry that on to its own section is the plus icon at a section it's currently empty. Get back to the plus icon, Select all sections. Now you can see a which is everything I've played so far and be which is empty. If I wanted to continue this on, I have a couple choices. One is to simply loop it, which, when you tap the track loop is the choice right above it makes it a little repetitive. I could also a copy these notes haste, paste And then if I wanted to have my 1/8 speed version continue on here. I can stretch this out, split it, pick it up and move it over. Loop it a few times, shrink the loop, do a similar thing here or I split the track, split the track, drag it over, loop it, shrink the loop on. I think a good way to wrap up this second to measure this section B would be to pick up where I began so you can see how one little sound you make could have many interpretations , and I haven't even changed the instrument. This is just three pianos playing the same sequence, but a different speeds was a random arpeggio. So hard to say if I really wrote it, because I randomly chose the notes as well. Uh, but the purpose of this exercise is to show you what you can come up with, even if you don't think you have melodies in your head. If you don't have melodies in your heart, if you are turning on the program and you don't have an idea of where to start. 7. Editing Recordings In The Track Menu: if you wanted to jump between the different quantities ations of this piano piece to achieve that neat horror film soundtrack that I just did. Ah, what you would have to do is duplicate the piano twice going to copy this. I'm going to paste it as I would any other program. The 1st 1 I will keep the quant ization at quarter. Note this one. I will switch it to 1/8 which it already is, and this one I will move to 1 16 You can see the top piano has less notes than the middle piano, and the last piano has the most notes very confusing when played altogether. But within the track menu, you can shrink by grabbing the ends so I could try something like this. Shrink each track to only cover a certain number of bars, or I could slice them using a razor blade tool. So I backed up using this reversing arrow. Ah, tap your track, you split. You get a picture of scissors and you can put slices wherever you team them fit. Going to delete that middle chunk split this delete so that's a fun start 8. Techno Bass Sounds: Okay, I think we are ready to make a techno song, so we're going to go to the My Songs menu will push the plus. I'm going to start with the baseline. That's the alchemy sin. The first sent that opens up is this pad on Epic Cloud Formacion. So I'm going to switch it to the baselines in the iPad IOS garage. Man, it's really easy to see where you can change your sounds because they have their names right there and you can scroll through if you are working on an iPhone. GarageBand. It's tucked into the drop down menu in the upper left corner is going to pick my base. There is a lot of bases in the alchemy synth, but I am going to start with deep synth bass, one of my favorites. When you have your sound, you'll notice that there are adjustments you can make to your sound. I can adjust him there, and you can adjust by swiping and seeing other knobs like you would see on a traditional safe keyboard, which is going to go ahead and leave it on acidic right now, because I think that's a great way to start a techno song. I also think that a great way to start a techno song would be to have an arpeggio. So I'm going to tap the arpeggio gator Gonna hit, run, look ahead and take it down to one octave so it doesn't jump up and down on I'm going to pick random just like our piano example. I'm going to start this song by choosing random sounds rather than a planned out melody. Let's see if I had an active. It's a little more interesting way go. I guess I will leave it on. Ah, let's try three actives like that going to record this and I'm going to stop it there because once I hit that second note around this point right there, that very last bit, uh then it became stuck on a new pattern, and I don't want it to go into that new pattern. I wanted to loop 123 and four. So I'm going to go here. The end of four. Shrink it down, Loop it way. Go my first bass sound. Now, one thing I haven't done yet is set the tempo of the track. You might say to yourself, You already did a recording. Why would you change the tempo now? Well, you can change the tempo of recording at any point in the process. To do so. Go to the wrench icon, tap tempo. And I think I stayed it earlier that my techno song will have a tempo 125 beats per minute . That's a good tempo for techno. Sounds cool somewhere in there is good. One thing that I haven't shown you yet is that when you do recording, you can change these parameters Thes dials in the process of recording Let's go back to deep sense base going to put arpeggio on again This time I'm gonna leave it as one active and I'm just going to hold the one note down. This'll note, by the way, is D I know it's d because the note before S C and if you don't know anything about music uh, piano keys just look at the sea and then, you know be is below it D e g. And then we start over again a a b. So I know D and G are the two notes I held down to get my last arpeggio so what I'm going to do this time. Is it going to create an arpeggio that bounces between the two of them? And when I do my recording, I'm going Teoh, move this finger pad around. - One thing I like to do is and some of these sounds so they don't take up the same audio space if you're wearing headphones, the fact that if you're just watching this on a regular computer monitor, But I have one sound and little bit to the left and one sampan a little bit too right. And they don't compete for the same space. All right, kind of a good driving start to our song. We have two baselines there, the same kind of sense, but they have different effects applied to them, and they have their own space in each channel. 9. Techno Beat Sequencer: I'm going to create a new section, but because I want this bass sound to carry on, I'm actually going to just simply duplicate it so duplicate. And I want this one to run on a little longer because I'm going. Teoh, bring in the rhythm elements, so I'm going to make it 16 bars my initial drums I will start with to beat sequencer. The beat sequencer allows you to program drums by placing a track, and we have multiple kinds of drums toe work with. So this is an eight away kind of early eighties cheesy sound. 909 Little more common in techno. It's whatever floats your boat. I'm a big fan of the 1991. Believe it here, Let's hear it. This sounds like with our baseline. - So as you can hear or C in the recording, I made it evolved by playing the drum machine live alongside my baselines, and I will admit that it's mixed a little low. If we swiped this over, we can see where we can mix crank it up. But by having the beat evolved along the way, gives people a reason to not get bored. Innotrac, now I want to introduce a more complicated beat. I'll introduce that in my next section. We're gonna go ahead, duplicate, be When I get to it, I'm going to delete what I recorded in that beat sequencer. And the reason is this section of the beat sequencer and this section are going to be totally different. I don't need Teoh have a record just yet. I can play along with the drum machine by clicking a button on the bottom. Still, I get something I want. So at this point, I think I want to really, uh, pumping four to the floor beat. And to do that, I'm going to add another kick Here, take these out a lot more if their instruments that you want to swap out. For example, I'm not a fan of handclaps. You can tap of that instrument to change the kit piece something else. Put a crash in there because they don't have a crash. And you can also change how long the step plays. So 1/8 note crash is going to be pretty lengthy. All right, pretty happy with that. As far as these percussive elements down here, I'm going to utilize something called chance and chance means that this no may or may not play, depending on how larger square is. There are a couple other parameters. You can alter one's called velocity, which is how fast it comes in like that. Actually, like how it changes between 1/16 on the high hat. So I think when I do my recording here, I will switching between the two aside. Do the recording the fast version? Definitely not 1 30 Starting from the beginning. Wait, let's check it out. I dig it. At this point, I want to introduce something that's a little more organic. Some percussion. Let's go to the drummers. We have percussion as a choice and 10. Techno Session Drummer: so these drummers and percussive artists are faux people that garage band has introduced. You have little biography about them. I think it's really fun and interesting. You see their hair styles. Some guys who are drummers, like I'll still have percussion as part of their ensemble, which is up here. You can turn on and turn off particular types of instruments, and you can adjust complexity, loudness and fills, which are little bits that are kind of like randomized elements. And like the beat sequence, sir, you can select sections change what plays. So Kyle, by default, has thes two sections here. He even has some pre program songs. Ocean Boulevard, thes particular patterns. You can also hear hear choosing instruments here. So even though these are kind of canned characters like Logan, the classic rock guy heavy Metal Anders, honestly, there's a lot of stuff you can mess with to get unique sounds. I'm going to go with disco Nikki for some percussion. Make sure everything is percussion on her. No Tom's. Maybe some symbols keep it complex. The first half is going to be a little softer and complex, and second half of her playing will be loud but simple. I'm interested to see what the difference would be between the two. All right, let's go. - I'm turning down the Phils on these because that snares a little unusual compared to the 909 drum that I'm working with. You don't have to do recording. You'll notice there is no recording button. When you work with these kinds of drummers, they're already set. I'm gonna introduce a sub bass sound now that I have my rhythm and I know what this is supposed to sound like. So a sub base is a lower base sound that probably doesn't have an arpeggio attached to it. You could, but I'm gonna choose not to. It's going to hold the cords down and I can find those these they say, like dark, heavy bass, full sub. That's a good one. And I'm not gonna do it arpeggio. I'm gonna try and play a melody myself just going between D and G. I think I like to full sub on its own. If I mess up, my playing quantum ization will take care of it. - Now It's very difficult to hear this sound amongst all the other bits and I know, I definitely hit a wrong note in the first half, so I'm going to, uh, cut that lube it and throw quant ization on. But if I wanted to hear the sound on its own or with less other instruments mixed in than in my mixing panel by swiping here I can just turn on the headphones. I can turn on other. That's pretty driving without the very first synth bass. This is the one that captures the most attention. I think another alternate to using these headphones when you're mixing, so your swallowing an instrument for your turning off. And as much as I like this sound, I can see how it would get annoying or irritating over a long period of time. So my next section that I created when it duplicate this when it cut out the top part and if we look at all sections together, start to see the flow Now that we've kind of loosened up, our melody here could be a good breather, but I feel like that can only last for a couple bars. So when I get to the middle, I think it's time to introduce a lead keyboard and maybe some melodic pads 11. Techno Leads and Pads: so the way I see it, we have a few things we need to wrap a per song. One is a lead, so that's a hook with a higher pitch note. And we can't create a lead out of the alchemy since like we're working with before, I also think we need some cord to some kind of pad or string sound to just kind of carry the song a little more than the base in the beat aren't and I feel like we need a change. So the song does not stay monotone and pouring and the change sometimes referred to as the middle eight or the bridge of the song. But it's usually around the halfway point of the song where it changes. And then we have a summary that gives us a reason to sort of rejoice that we stuck with the song. We stayed 3.5 minutes in the four minutes however long it ISS in our synth. We have leads here, and I'm gonna pick one that I like a lot called the chip tune Lead Sounds kind like a video game, and I remember it. I was working with D and G so I'll just play along until they get something I like. - Ah , kind of, Ah, Middle Eastern Arabic flair to it. So I'll do my recording in one of the sections. It's OK if I end up moving it around, copying, duplicating it. I'm also going to boost the octave because I think our song needs a wider range of sounds. Need some low ones that need some high ones. It needs a mid ones, so this is going to be in the higher range. - So I know I made a mistake towards the end, and I know it was off on a couple notes. Thank goodness Rick Want ization. - Shorten it to the area I know I got right. Loop it. Let's find a pad to contrast that thats one has kind of really special sound. It's very contrast, t two. The other sounds we've been working with so far. The other sounds air pretty direct. This one has, like, were classified as mysterious. No, I don't want to overcomplicate things, so I think what I'll do as far as I'm playing is the first four bars are played as Dean on the next war. Bars are played as G s o just two notes back and forth and I'll go ahead and put this a stain on So it holds the notes down. I put the leadoff to one channel, but my pad off to the other Suria Quant ization on for this one as well. When 8th 1/4 notes Fine. I feel like I want to make some adjustments to the chip tune. I'm gonna take the trouble down. There's the echo and in the master effects of the echo, we have a sub menu. I'm gonna put dance Echo A. This chip tune is one long note and you can have a little more energy to your track if you haven't arpeggio. But instead of turning on the arpeggio for this chip tune lead, I'm going to duplicate it. Panic, too. The rights. And when it turned on their petty ator When you start building up a lot of tracks, you're going to start to see this optimizing performance sign each time you play back all of the tracks and it can be kind of annoying but will bounce down our rhythm section in a moment and that will reduce the number of tracks it has to process 12. Song Structure and Organizing Parts: So we have our leads. We have our pads going to spread these out. Duplicate this section when a duplicated twice. This section e is probably a good place to have my change, and then this final section F is a good place to have my sort of summary E is going to be the quiet part of the song. I'm going to cut the beat here, see what it sounds like without the chip tune lead. It's just base and pad. Not every Middle East has to be a slowing down or cutting of the rhythm section, and I'm not sure if that's exactly what I want to do. I do know for my summary, I want pretty much all of these tracks here. I like my first chip tune lead, the one that has the long notes, but I find it is a bit overwhelming, so I'm going to probably shrink it down or have a non existent in certain areas on by shrinking it down. I mean kind of getting half and all the shifting is in service of making the song have more changes. More variety because if you're asking someone or 3.5 minutes five minutes of their time. You want to make sure that there's things sprinkled throughout that entire process that give them a reason to stick around. So at this point, I have cut my song up a little bit more time, really trying to make it so I don't have sounds, Philip, everything I have this percussive bit under Nikki that shows up through the entire middle of the song. I have my beat filling up most of it, except for the middle eight section in the beginning, And then this pad dark textures I have in the beginning the middle and the end. Uh, my original acidic base bits don't come in until the middle of B section here I have the song, beginning with a pad and easing its way in. But the main purpose is to have an ebb and flow that makes the song worth listening to start to finish. Also, because this is a techno song, I need to give a little bit of a leading and a little bit of a tale that if a deejay were to mix it in, they could have a beat, continue over the lead and then have an outro beat that mixes onto the next song that the deejay would play. So the intro is with Way Way based Armisen halfway Ah, place a download link with this course So you can hear the entire song if you want. I want the outro to continue the beat which is modern 909 here. So I'm going to add one more section going to make it 16 long Go back to all sections, Copy the beach, paste it in her final bit 13. Merging and Filtering Sounds: now, one of the complaints about GarageBand in general amongst the music community is the sounds are a little bit canned. They are a little bit too slick. They don't have personality that one might get. When, say, you're Liam Howlett of the Prodigy who would put his keyboards through an amplifier. We can definitely dirty upper sounds, and there are two places you can do it. Number one is in the audio recorder and number two is with the amplifier. So I'm going to go in the audio recorder, going to choose instrument. And when I click on where it says Nice room, I see that I have access to different kinds of drums, keyboards, vocals, producer effects. Producer effects has an amplifier at the top. It has an amped phaser below it, and then the bottom. It has a guitar pedal called vintage tube. So what I'm going to do at this point is place my rhythm elements. My, my my 909 So what I'm going to do at this point is placed my rhythm elements in the vintage tube, and my rhythm elements are the modern 909 and Nikki, the percussive drummer. The way I'm going to do this is I'm going to merge these two rhythms. So tap one hit merge, select the one you want to merge with and you will get a new in aeration of your song with those elements as one track. Now that I have my merged elements, they look like a speaker. And that speaker is no different than if you were to start off with the audio recorder and choose instrument. This speaker has the exact same effects that the other audio recorder we saw in the instrument panel had. So I've gone ahead and selected vintage tube. Now we can hear that drumbeat has a lot grittier, harder texture to it. 14. Apple Loops: There's one more thing I think I'm going to add to this song, and that is a loop that comes with GarageBand. So in the upper right corner in the track menu, you see your loops. Apple loops are great because they conform to whatever tempo your song has, and you can also search by genre. So if I go into Elektronik, look for something that will fit my techno song almost reversed. Topper toppers are the snare and percussive parts without the kick drum, so if you play your song at the same time, you could mess around with loops, and it will conform to the timing of your song. 15. Saving and Titling Songs: now one of the most difficult things about song writing is deciding. When are you done and trying to figure out when the song is actually finished? I don't know if this one is finished. I actually take a little bit of time driving around in my car, listening to it, thinking about what I like about the song. What I don't like, what parts are irritating at what parts make me happy? Ah, and I encourage you to do that with your own songs. Don't just write something and then think it's perfect and throw it up on the Internet and then realize that there were things that you could change you could add that you could take a way to make it better and more exciting for the purposes of this class, though I think I'm going to call this one done, I'm gonna put it in the bag. So I go to my songs and one of the first things I need to do. Once I have closed it is re title it something that I can remember, and generally I title it with the BPM and the major notes that were played in it and something else. That is a good descriptor of what the song is. Because everything that's titled my song, my song, My Song I have no clue what those are. And I need to constantly reopen them The things that are entitled Things like 88 Reggae dub pop noise. I know what that is. This one in the lower left corner that says 1 20 cf Papa was a rolling marble. Well, I remember it's 100 20 beats per minute. The major notes I played where c and F, and it had some elements that were similar to the Temptations song. Papa was a rolling stone. 16. Trip Hop Building A Song From Samples 1: the next kind of track we're going to make is a hip hop or trip hop track going to pick new going to pick instrument because we're going to work with sound samples now in our techno track. We already saw in this tracks menu the Loop Region, and we had access to all these apple loops. These are things that I got directly from Apple. They were free packs. Some of them were with the company Red, which is a charity that fights AIDS. And they had GarageBand loops available, if you believe donated a dollar or something. And there's also things that you get with Sound library for my trip hop song. I'm going to pick a BPM around 100. And instead of starting with drums that are internal with GarageBand, I'm going to start with on audio file loop. That I have imported. Importing audio loops will be its own separate lesson towards the end of this tutorial. But for now, I'm going to show you how I start with a beat, and we're gonna use some of the deejay tools that garage band comes with. Now. I have a lot of sounds on my iPad that I can access in garage mint. And as you can see, there is not a super consistent naming structure to them. Car crash role three times and ones that start with the BPM sounds that have no BPM since I imported the majority of these through a sample site called Spice, because I imported the majority of these sounds through a sample side I have subscription with called Spice. Most of them have a BPM. If I Type 100 which is thebe PM of my trip hop truck, I get a lot of things that are 100 bpm. And because I used a sample site that already has vetted the samples, I know that they're royalty free. I am okay to use all of these sounds in my own track because I already paid for the subscription. If this isn't to beat, if it's ah, something that has a sound, then it also has the kids in the major notes or chords. So this one that says GC based Loop Acoustic 11 100 D well, G. C. Was the name of the artist, and D is the key. It's in, and I do like that base but I have dedicated myself to starting with a beat. Okay, like that. Sound great to loop it. These beads air cool, but they're also the kind of beats that you want in the middle of the song because they have a lot of percussion going on there. Really exciting. So I'll keep that in mind. This beats a little more minimal and probably more useful for beginning of a song. Put that there, loop it and you'll find when I'm dragging loops out of this audio file menu, I can just drag it into the empty space of garage Band. I'm going to take two beats. I'm gonna merge them, see what they sound like together. Let's see what they sound like with a baseline. That sounds great. Very menacing. Going to start my song off that way. Duplicate that first section, start bringing in some other instruments 17. Trip Hop Building A Song From Samples 2: because my baseline is in the key of D. I'm gonna stick with those. I have a lot of instruments on here that are 100 bpm in the key of D. Some of them are by the same sample creator that did my base loop GC. But because I want to mix it up, I'm gonna look elsewhere. So I like this vocal chops sound, but I want to mess it up. This is one that's pretty distinctive, and it has space between that might be good for an echo. I might be able to get some funky filtration on it. So let's look in producer effects will go into bit crusher. - So I turned it in. I transformed it from a voice into something that has a lot more of, ah, like a staticky sound to it. She got this flute here. At this point, I want to show you how we can. It just sounds within the tracks menu. So I'm going to copy this pace to new adoration, going to tap the sound. And we, up to this point have been working with delete and loop. We have not checked out settings yet, so let's check settings. This is where you can reverse speed up or slow down your sounds. So if I slow it down by half on reverse it, I have this cool looking backwards. Floop sounds. So this is what it looks like. Reversed and slowed down by half. And I'm going to solo this so you can hear the flute as it plays normally. And then what it sounds like with my alterations to it. So drag this here. Copy paste, copy. Haste. So the filter I applied was the deejay booth. I turned up the delay which gave it that extra bounce to the flute. But some eco put some reverb turn up the filter and got a sound that I am really happy with . I really like that flu. I think it's a great cook for the song. So if you haven't noticed, we've gotten pretty far in this song just by using samples. I haven't even gone into regular instruments and played a thing. These air entirely royalty free samples. I'm okay to use them, and they're from different sources. So they have the unique flavor of the kind of sounds I like. They aren't all by one artist that you're sampling, which I think is a kind of a bad thing to do. Just sample one single artist. I applied some filters to a couple of these to make them sound a lot different than straight out of the can. 18. How To Add Samples To Garageband iOS: We're going to take a look at how you get samples from your computer onto garage band that you have on your phone or tablet. So plug your phone into your computer. If you have iTunes, open it up. There is a section called file Sharing and in file sharing. You can choose the app that you want to put your files in, so I have GarageBand selected under my APS menu. I've opened SLICE, which is an app that has samples I've downloaded from their site. If you were using a Mac Finder or Windows Explorer, you could just as easily move these files over one thing about the spice. After I'm not able to select a multitude of files at once, I can only do them one at a time, which works for me. I am picking some quite randomly right now. If I wanted to be very specific about particular instruments, particular BPM. This splice app does have a filter, which allows me to search by those Now. The loops that come with GarageBand are apple loops, and those can be stretched to match any BPM, which makes them different from these kind of loops, which are just plain wave files MP three files that I'm dumping into GarageBand. If I want to use a loop that is 120 beats per minute, I need to have the song, the 120 beats per minute or it's not going to fit. 19. DJ FX: So I'm going to set up the rest of the structure of the song really quickly because I want to show you the deejay tools and s So far, I have duplicated section A that is now section C section B, with all my flute and staticky sound, is also section D going Teoh ad an empty section that I will fill with some changes. Then I'm going to duplicate Section D, duplicated twice so it's longer isn't really different than the structure of our techno song. At this point, I get a section e put the panic beat back in there, pick a totally different bees like a few other sounds that are totally different from my middle part. Vocal chop can go here. I'm gonna pick some sounds that are totally different from the rest of the song. This'll, mallet anything I don't like. Of course I can delete after the fact I'm just looking for something that's gonna be a big shift from the earlier part of the song. Let's check out how flows from one section to another thief. Pretty fun. The next element I wanted to show you, though, involves the entire song and that is the deejay FX. So in the upper left corner tap that you're going to see these tools and we have a filter. We have a beat shopper. We have reverse. We have scratching, We have stopped. You have a bit crusher, which makes it sound like a video game. And we have the repeater. I'm going to play the entire song, and I'm going to apply deejay effects to everything. If I make a mistake, I can go back and cut out my mistake. But the idea is that I have a song that is pretty stable and consistent all the way through , but is going to have a bunch of different deejay sounds that make it lively. This is the filter. So what? You've done your deejay work. This is what you get on the bottom. Now you can hear the song without the deejay effects just turned off. We're on. That's the on off button next to it. And certainly you can delete the whole thing entirely. But if you have something that you made a mistake on and I certainly made plenty of mistakes in some of the B areas E If I found that obnoxious going to split really and you've excised the offending portion 20. Using the Sampler To Turn Voices Into Instruments: in this lesson. I want to talk to you guys about recording sounds with the sampler in Garage Band and then using that as its own instrument. Now, when I grew up when I was a teenager, most of the music I listened to had a sampler. As part of the band, there was populate itself. There was Jesus Jones. There was Shaymen, a lot of these UK rock bands who incorporated sampling technology into their acts. And what happened was they were able to pitch unusual sounds have them matched the sounds of the guitar, the bass, and it added a whole different dimension to what they were doing. Nine Inch Nails famously used a lot of movie sounds early in their career, and as a listener I would enjoy the songs. But I would also enjoy trying to figure out what those sounds actually were. And then you read an interview and you find out, Well, that's actually the sound of a pig, or that's the sound of a bullet. But it's slowed down and pitched down and set to the tempo of the song, and that stuff really fascinated me a lot. Now what? I use samplers for in my music is mostly for human voices, and the reason why I use human voices so much is because I love the sound of a human voice . I think it's very spiritual and soulful, and unfortunately, I don't have a lot of singers in my back pocket that I can just call up, have come down to the studio and also because of making electronic music, don't necessarily want to have words. I just want a have some organic human element added to what I'm making. So in this particular track, I'm gonna utilize a friend of mine. Mackenzie recorded her singing a year ago, and because she's saying a full song, I'm going to pick out parts of that song, just a couple little phrases or syllables, and I'm going to incorporate those into the track that I am making. So to find your sampler, you go to the keyboard and it's 1/3 option. You see smart piano alchemy, synth sampler and simply point your microphone in the direction of what you want to record . So I have her voice set up in my computer and then you hit start once you have the audio going Okay, so I have a little wave form here in my garage, man. And if I push any Kio, it's going Teoh, pitch what you recorded to what the key is. So see someone. But this is a very long phrase that I have in the sampler. I need to cut it down so I have these little grabby bars on the side, and I'm going to go straight for this kind of big chunk here. E might even get rid of the with and just used me. I'm going to reverse it because one of the features of sampling that I like is that it's not really identifiable if it says me or love. I guess that's one thing, if that's what you're going for an attract. But I'm looking for more of an abstract human voice, e B. Because I'm using only one syllable beans. It's a lot easier to pitch when she has two syllables, and it sort of goes from one note to another. That's gonna be a little more difficult to fit into my song. Not super difficult but somewhat difficult. E Now on the Garage Man sampler. If you'll notice when I hold two keys down. The higher pitched sound is going to go a lot faster than this lower pitched sounds. So it actually is re sampling the whole track. It's not giving you, ah, high pitched version of the same tempo. It's making it high pitch, but it's also speeding it up. So if I have the lower si in the high seas, which is pretty interesting and Kenly in itself to some horrible mistakes, but you might end up liking it if you want. Oh, have all of your notes the same length. I encourage you to use the arpeggio. Turn that arpeggio later on over there. And then I'm just gonna set it up to do random. We'll see what it sounds like when I hold, uh, three keys down and I'm gonna turn up the reverb and echo so you get a nice little floatie . Oh, now, if you want to shape it, if you want to cut down the attack and have it sort of slide in and out, there is an option for that Next to where it says trim, you see tune and you see shape, hit shape and then drag. So it's a nice fade in instead of this Really sharp it a up to you up to what you're looking for. Since I'm going for this really organic natural approach, I like to have, uh, soft faded on everything from there. It's just a simple matter of recording it to the track that you're working on. I'm gonna turn the pitch up so it's a little easier to hear alongside the track. And there you have it. You can build a baseline out of human sounds. Certainly you can sample other things like animals, machines run it all through your sampler. 21. Recording Electric Guitar 1: I want to talk to you about ways that we can get our own natural instruments into GarageBand, and I'm gonna start with an electric guitar. Because GarageBand has its own virtual amplifiers, this is a selection of amplifiers that oftentimes mimic popular guitar sounds. One of my favorites is Dublin DeLay, because it's essentially the edge from you, too. There's one that's kind of like Brian May from Queen. One of my other favorite ones is modern UK. It's just like a straight ahead alternative rock sound. But there's even ambient guitar effects within graduate, and there are third party plug ins that allow you to take that sort of creative guitar playing even further. And we get into those third party plug ins those effects in a minute. But first I want to show you how I actually get my guitar sound into GarageBand, and the thing that I utilize is called in. I rig the I rig plugs onto your guitar cable, and it has kind of a standard headphone jack. It's stereo. It's over here Now. If you are using a modern iPhone that doesn't have the stereo, Jack, you can get an adapter that goes on to this and plug into the lightning port on your iPhone . I have recorded into my garage man on the iPhone, but I also use on iPad that has a headphone jack and have had no difficulty getting the sound from this through this into GarageBand getting a perfect clean amplifier sound. Once you have a guitar plugged into GarageBand, go ahead and swipe until you see the amplifier. You have a few choices. It doesn't really matter which one you pick, because you are going to have the opportunity to change these after the fact. Ah, one of my favorites is under processed. It's called Dublin DeLay, and that, essentially, is something that mimics you, too. There are a lot of other ones, like bohemian Rock that are intended to evoke a particular existing artists, so Bahamian rock would be queen. One of my favorites under Crunchy is Modern UK. You'll notice that I have a few extra ones here, that air called tone collection, and you can access those in your main menu under sound library. This is where you can access other sounds that aren't native to GarageBand. When you open it up, these air all free from Apple. You just need to download them like I haven't downloaded this transitions pack. But if I had get, it will load going back to our song dough. Now I'm going to put headphones on so I can hear what I'm playing and how it sounds to be able to monitor your headphones. You need to tap the jack in the upper left corner and then you have an option that says monitor. So you switch that on, and all of a sudden you can hear what you're doing. Before you do any guitar recording, it's always essential to tune your instrument. There's no point in recording a bunch of stuff and finding out that it's out of tune. So our tuner is in the upper right corner. We tap that way, play our strings and adjust accordingly. I'm going to speed through this process and skip a little bit of it, cause I understand is not that entertaining to sit and watch me tune. Okay, now we're in tune. We switch back to this speaker emblem next to the tuner, and this showcases what pedals you have depending on your preset. So glam rock just has this phase tripper, and you'll notice that there is another space. If I tap that space, I can add an assortment of other pedals that garage band comes with. We'll come back to this in a moment. I'm gonna pick a different sound. The modern UK one of my favorite setups that's a little bit of laid by James for you. I'll go ahead and show you that Dublin DeLay sound that I enjoy. So there's a little bit of Sunday bloody Sunday. Uh, the pedals that this Dublin DeLay has are not quite what I would choose myself. So if I wanted to add a different pedal or make any adjustments to these or do things like flip the vintage drive too fat? Change the attack on the squash compressor to slow turn up the sustained Add another pedal something like, Ah, this high drive. You can do all of those things If you go back to the amplifier in the upper right corner, I notice this is an incredibly Tremblay sound. It needs a little more bass and cut down on the trouble to make it. What I think a YouTube guitar sounds sounds more like I'll turn up the bass in the mid to turn down. Now, if you come up with the sound that you like, you can save that as a new preset tap. The name of whatever you're working with, some tap Dublin delay I'm going to tap save in the upper right corner here, and I'm gonna name it what I want to name it that is now listed in the custom presets underneath all these other ones. And I highly encourage anybody who is using GarageBand to record the guitar to come up with your own presets. Uh, ultimately, you're gonna have a sound library that nobody else has. And I think that's important that we have our own flavors that air unique. Tow us. Not necessarily the canned versions that come with whatever program we're working with. 22. Recording Electric Guitar Garageband Guitar 2: Now one of my favorite sounds from the tone collection is called Endless Ambient, and this is a way of creating guitar sound that really doesn't sound like a guitar. A lot of my favorite guitar sounds air like that, things that were pioneered by people like Daniel Lavoie. Go ahead and record something like that. When you do your recording with your guitar, it will be a mono signal in your headphones. Meeting is the same sound in both left and right channels. When you switch to your tracks and listen back, it's going to be in stereo, and at this point you can slice up stuff. You can loop it as you can any other sounds in garage band. So if I think I played one section better than another, I'll just go ahead, slice it and loop it. My tapping If you change your mind as far as how you want the sound to be processed, or if you want to mix a performance between one amplifier and another, you're welcome to do that. I created a new amplifier. I'm going to copy this paste the performance, and I'm going to send one into this channel and pan this one of the other direction. So when you listen back, you can now hear how my performance sounds in two different sonic environments, we're gonna check out. How does he add effects from third parties to your garage band performances? First, you need to find the effects that you want to half. You need to either purchase them or download them to your iPad or iPhone to access them. They will be where that plug is. You'll see where it says interact, audio. Select that. And when I pick effect, I have all the ones that I have purchased and have downloaded on this. IPad crystalline is one of my favorites. It's going to run in the background. This is a super clean guitar without Kristalina. Just sounds almost like nothing but with crystalline, you'll hear the sound doubled as this high pitched keyboard. Uh, and the APS, of course, have their own parameters that you can adjust. So we have one called edge. Not surprisingly, for my musical tastes. Whenever you're in 1/3 party app and you want to bounce back to garage man, there's usually an icon lower left corner. In this case, if you search through the APP store, he'll probably find an overwhelming amount of third party APS that integrate with your garage band before you spend money on these. I just encourage you to look up on YouTube or in the APP designers description for some kind of video that lets you know exactly what the APP does, because one can waste a lot of precious time and money on things that really won't help you in the creative ventures that you are currently pursuing. 23. Exporting From Garageband And Mixing In Audition: I very rarely have my final mix down come out of garage band, and the reason for that is that Garage been has a habit of compressing my sounds. So if I have a part of a song that's really complicated and has a bunch of instruments going on, it sounds very similar to the parts of the song that aren't as complicated. Only have a couple instruments going on, so that quiet parts, the song and the busy parts of songs are very compressed. To solve this problem, I mixed on my tracks using Adobe Audition on My Mac book pro and to get my individual tracks off GarageBand. First, I'm going to select the headphone icon next to a particular sound or a collection of sounds that I think are okay to be mixed together. Then I zoom out to the my song menu, press down until I get my export menu and I'm going to air drop a wave file over to my Mac Book Pro. I'm going to repeat the process for most of the tracks. The ones that need to be isolated the most are the beats and the base. So a lot of my pad. Sounds like the chip tune lead, celestial voices droplets. I'm OK with them being mixed together when I output this track, but my drums and my base, I really want to make sure that those air exported on their own because those are the ones that require the most finesse when mixing in audition. Each time I export these tracks over to my computer, they are renamed, so I don't have to constantly say 89 f keys to 89 f. Keys three. The computer is going Teoh, change that numeral for me now I'm using Adobe Audition. There is a free alternative that I recommend called audacity. But Adobe Audition is my preferred audio mixing software. It has a single wave form view and then you have your multi track view. When you look at your multi tracks as they've come out of garage band, you can actually get a visual representation of how repetitious these things can be. You see, the beat is just one single thing going through the entire track. When you have your tracks open and audition, you can switch to the multi track view here. Then you can drop them over into their respective multi tracks. And as you listen back on your headphones and find that you need to make some adjustments, you can utilize the volume knob within the multi track. Or you can bounce over to the original track, then apply. Filters, change volume, fade things in and out, cut things out completely if you think that you've heard a sound way too many times in your song and you want to give a bit of rest. Once you've gone through this process, you can file export a final mix down wave form. And most likely, if your music is anything like my music, you're going to end up with a much punchier, more dynamic track than what you get if you try to export all of your tracks out of GarageBand as a finalized wave. 24. Garageband Wrap Up: students. Congratulations on reaching the end of this garage man course I know we did not cover every single thing that you could do within this application. But the application itself is incredibly large, and Apple is constantly adding updates to its. They're adding sound packs to fill out their sound libraries. And of course, you can expand the palette of sounds that you work with in garage band by bringing in your own samples or funneling other applications into recording tracts of GarageBand, I would love to hear anything you made out of this course, so you can email me at info at primordial creative dot com, or reach me through this teaching site, encourage you to check out the other tutorials I offer on this teaching site. There are ones about leading up your voice for a voice over, as well as working with other forms of visual art, adobe products and multimedia creations like video editing and animation. Talk to you next time