Get Creative with Ableton's Groove Pool & Rhythmic Tools | Will Edwards | Skillshare

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Get Creative with Ableton's Groove Pool & Rhythmic Tools

teacher avatar Will Edwards, Artist. Creative Problem Solver. Musician

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

Watch this class and thousands more

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

Lessons in This Class

15 Lessons (1h 3m)
    • 1. Introduction

    • 2. What is Groove Pool?

    • 3. Finding & Extracting Grooves

    • 4. Groove Pool Customization Controls

    • 5. Syncing Clips with Groove Pool

    • 6. Understanding Subdivistions

    • 7. Using LFO's for Rhythms

    • 8. Rhythmic Gating

    • 9. Velocity Sensitive Grooves

    • 10. Humanizing Grooves

    • 11. Adjusting Groove Intenstity

    • 12. Quantizing & Global Control

    • 13. Demo: Vocoder-Based Rhythm

    • 14. Demo: Patternized Vocoder

    • 15. Conclusion & Project

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About This Class

This course is for all users of Ableton (from beginners and beyond) who are curious about methods for creating rhythmic elements in their tracks besides beats and drums.  This course focuses on the Groove Pool feature, but also goes much further by looking at using LFO's, side chaining and gating to create rhythmic tools and sounds in your mix.

Rhythm is the heart of great music production and music producers are always needing new, innovative tools for making beats and adding rhythm to their tracks.  Ableton has so many great features for music producers to use and this course will illuminate some options that students may not have considered before!

Meet Your Teacher

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Will Edwards

Artist. Creative Problem Solver. Musician


I am a full-time professional musician who has broad teaching experience with guitar & bass students in rock, blues, jazz and many other genres. I perform live on bass, guitar and keyboards.  In addition, I perform live electronic music improvisation.  I've devoted over 26 years to my own well-rounded musical education, focusing on a mastery of all aspects of modern music - from music theory to ear training; from live performance to composition and practice routines.

I specialize in bridging the gap between music and technology, focusing on using modern tools to demonstrate all aspects of music.  I compose and perform with Ableton and Push 2 and I have experience with Cubase, ProTools and Logic.  I'm extremely comfortable using web-based to... See full profile

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1. Introduction: Hey there, I'm Will Edwards and I've built this course here about the groove pool and some of the rhythmic tools built into a Bolton. Now, this course is mainly focused on people who already know a Bolton are already somewhat familiar with the interface. Maybe done a couple of projects in it, and you're wondering how to use the group pool. But you're also interested in generating mawr. Interesting rhythms, right? So one of the things that we're gonna be focusing on is the Groove pool. But the group pool is really a rhythmic tool that is built into a Bolton. And I want to incorporate some discussions about other rhythmic tools like Ella foes and also some really interesting things you can do with patronizing and using our pitch eaters with a vocoder. Because anything that side has side chain capability, which the vocoder does, can actually be used to create some really interesting rhythms. So I'm going to do some demonstrations of that later on, you'll probably discover some things that you can use to create rhythm it context in your tracks that you actually haven't thought about before. It's not just like using drums and some of the more typical rhythmic tools. So this course when you're done with it, you're gonna have another standing. First of all, that maybe most importantly, for a lot of people who probably searched Groupe Bull, they're going to understand how the group will works, how the different controls work, how you can manipulate and customize a groove. How you can extract a groove high, comply it. Um, I talk about the groove pool for the 1st 1st half of the course, but you're also gonna learn that there are ways to create rhythms that are mawr interesting , have more depth and are a little bit more unpredictable than maybe some of the tools that you're using right now. So this is really a great course. If you're just interested, you're in a built in user and you're just interested in rhythm, concepts and tools in general. So let's get started 2. What is Groove Pool?: So let's introduce the concept of the group pool and understand a little about about what it does. So the group pool is a feature built into a Bolton, and it helps us manage different grooves so that we can add rhythmic sort of variety, maybe even humanizing, feel swing and other kinds of rhythmic elements into our music and kind of control them and organize them as well, so that when we find a group we really like. We could actually save it and we can apply it. Other clips. We can play it. You know, we could take a group from, uh, bass track or a drum track, and then we could apply it to a guitar track or you know something else. So anything that's rhythmic, basically the group pool engine is gonna be able to take a groove you've got, whether it's one you make yourself or you extract yourself or is one that you use from the collection that's offered by a Bolton and then apply that groove and it's kind of rhythmic properties to something else, and this is you're going to see in the demonstrations here. This really, really helps to kind of make different clips may from different sources. Ah, lot more cohesive sounding together. So one thing I want to make sure you understand is that the groove pool is not necessarily a destructive thing. So you can apply a groove to a clip without actually ruining the clip or without actually making it a permanent thing, right so you can actually try different grooves. You could have the same clip and use different grooves on it, even within different scenes or different channels of the same project rights. You could have the same base clip, and in one channel you could have it being ah, operated on by a group A and then in another channel, you could have a very same audio clip, but have it be operated on by group beat. So it is not necessarily the case that you have to like link thes grooves inextricably to the audio or the MIDI clip that you're adding it to its non destructive. If you really like it and you want to kind of save a hard copy, you can do that. You use the commit feature, and I'll show you how to do that so that it's a hard copy. Now let's move on and talk about where we can get these grooves from 3. Finding & Extracting Grooves: all right, so welcome back. I want to talk a little bit about where you confined grooves, and there's a couple of easy ways to do it. Like, you know, you can click on the groove pool icon right here and then you can right click anywhere kind of in the area here and you'll see Browse groove library, and that'll take you straight to the groove library. Otherwise, you know you can just go to your place is over here and you go two packs, and then you can navigate basically to what's called the core library. And when you get there, you can expand core library and you'll find at the bottom swinging groups. So whether you do it down here or you do it up in the packs and someone so what, it takes you the same police. Sometimes this option here won't work because for some reason, occasionally I've had this experience. I know others have to. The library kind of falls out of sync with a bolton so occasionally this one work, And if it doesn't work, it may unfortunately mean you need to kind of reinstall. You're able to an installation. Um, I've resolved it before just by downloading and reinstalling the core library from another computer that I had my able to license on. Um, so that's something to be aware of. But if all this works, then you know no sweat. Don't worry about it. If this option doesn't work here, then of course, you can just go Teoh packs and then swing and groove and so on. Now, if you look down here, I've actually taken this one simple groove here. Any any file, just as a quick mention with the dot a GR extension represents a group. You see, it has a little orange dot Next. That's actually because I'm using able to intends new collections feature, which I really like. So I found this click. You can hear it there. That's kind of giving me a preview. And, you know, I just want to use this in the example. So I just flagged it as, um, orange and renamed orange groups. If you right click upon this, you know you can have all these different colors. You can select the color, and this is really nice, because then I just click up here and I get to it right so you could maybe spend as I as I tend to do. You know, you could spend like an afternoon going through grooves and just kind of listener ones you like. You know what thing? Which groups kind of appeal to you and then just right click on them, tagged them as a collection, called them grooves or, you know, my favorite groups or whatever. Of course, you can always right click on these collection names and and rename them so that they make sense to you. So they called, like orange and red. But this is just a real nice way, you know, to collect your collect your thoughts in a way because the able to the library is so vast. All right, so let's just talk a little bit about how you can also extract groups. I've got a couple of audio tracks here. I'm gonna take this bass track here, which you can hear. Okay. It's just kind of like a little bass riff that's coming out of one of the packs. And I can actually right click on this clip and I can say extract groove, Okay. And then what's gonna happen is it's gonna work on that. And then down here in the group pool, I've got a group, right, and I can actually save that to my user library. So now I can save that, and I can go ahead and add that to my grooves collection. And now, when I go to grooves collection, I've got to have got the swing that I pulled out of the core library, and I've got this new one. You know, that I like from this baseline, this would be great. You know, if you were also working, maybe on music for a specific style you wanted to keep, like, your house grooves and your techno grooves and your dub step grooves or whatever you know, then you could kind of create a big collection of groups this way. Keep them organized, and also have them be easy to access. All right, so that's basically where can you get grooves? You can either find them in the core library, or you can extract and save them yourself. And in the next lesson, I'm gonna talk a little bit more about how the groove pull works and actually give you some demonstrations of using it on this baseline and drum kit. All right, so let's move the poor to that lesson. 4. Groove Pool Customization Controls: All right. So welcome back. Now we're gonna talk about how this group pull works, right? So we've got these two groups here, and I'm just going to take this very basic swing here. You can hear a little preview of it, and I'm gonna show you how you can use it in the groove pool. I'm gonna just drag it down here Now, In the last lesson, this baseline one was extracted from our baseline audio clips. That's right there. And you just kind of basically that's why it's called a groove pool. You just kind of create a pool of grooves. It'll create Thies this list, right? So we got our base time, and then we got the swing. Now, to apply this to one of these audio clips, let's say, is super super easy. So I've got this kind of classic almond break. Let me just make sure everything stopped and you can hear the almond break your like there's a really standard, real familiar break to a lot of people. And I'm gonna drag my swing on today and you're gonna notice that the flavor of this beat changes right away. Okay, now that might be what you want. That might not be what you want. Um, but the point is that it's that easy to take a groove and apply it, Audie. And you could hear that there's some substantial changes that are happening there. Okay, so you know, there's there's a lot more going on here than just dragging that groove and hoping that you like it. You can really tweak it and kind of optimize it to your own purposes. So over here in the group, well, we've got a number of different options. Okay, We've got velocity and random timing Kwan ties and base. I'm explain these really? Simply, even though I'm gonna kind of actually do more demonstrations on them a little later, this is really just a review of what it does. Okay, so the base is basically setting a subdivision. A division of time would be like 1/4 beat. Let's say in a subdivision would be like on eighth or 16th and this subdivision basically determines. Um, a good way to think of this is Resolution, the resolution of this swing groove and how it's gonna affect my almond break. Right? So, at a resolution of 1/4 than you know. Basically, I'm only influencing the almond break based on quarters. That's just know what that sounds like. Sounds a lot more familiar. Sounds more like the original Almond break. Now we do eighth. Now it's applying the groove. The swing group at a resolution that Pete's Napoli moved to 16th. We are sorry, that's a eight note Triplets move on the 16th. We're dealing with a higher and even higher resolution. So you know the term resolution, I think, is really helpful. Ah, way to think about this. But I want to make real clear to to anybody watching this lesson what I mean by resolution . So if we think about it in terms of, like digital photographs, you know, over the last several years digital photography, like you know, the camera in your phone or whatever has gotten a lot better. And that has to do with resolution, how how many pixels are there? How many individual pieces of information are there or you go and you buy, um, you know, big flat screen TV and in the old days, you know it was 7 20 p was was really amazing high definition, and then they had 10. 80 p, and now they have four K TVs. And basically the resolution is basically breaking the picture up into smaller and smaller pieces so that its way can get mawr and more accurate. You can also think about this in terms of audio. Where you have sampling rates like a 44.1 sampling rate, is a sampling rate that was used on CDs and, you know, was regarded at the time. It's amazing quality. And then, you know, the 16 bit 44 1 became, you know, 24 or 32 bit audio, but in a resolution of, say, 192 kilohertz. So that's got this radically, um, mawr refined resolution on the audio it does create a more accurate rendering of the audio is recorded. So whether you think of resolution in terms of digital photography or you think about it in terms of, um, audio sampling rate, those are two examples that I would imagine a lot of people who are watching this course might relate to. That's what I'm talking about here in terms of resolution. So as you change the base value here from something really simple like quarters to something much more, Um, much more intricate, Like 16th. You change the resolution of how this groove is affecting your clip. Now by what amount? So that's the resolution setting it. It doesn't actually imply that this groups being applied at all so timing this value, that's a 100%. Currently, the timing is the number that determines, let's say, intensity, how much of this swing is actually affecting my drums. So if we listen to this and I bring this timing down, I get back to my original common break. So in other words, basically, right now, even though this swing is on there, it's, you know, not being used. It'll as I bring this up. It's being fully applied. Now if I were to bring it something same or easier to hear, hear? Eight. This is the original, and I can actually kind of change this timing value to decide how intense I wanted to be. I'm gonna talk about that a little bit more later and given example now, Randomness is really simple. It's gonna kind of add an element of randomness to, you know, based on whatever the rhythmic properties of this group Pool our or their sorry, this particular groove, this swing groove. It's going to randomize their properties a little bit, and that's going to, you know, at high settings is going to make it sound chaotic and kind of not that rhythmic at low settings, though it can kind of do what people always trying to do with their beats, which is humanized, that make them sound a little more human. Because, you know, if you finger drum out a beat, you're gonna get that beats gonna have just small, tiny flaws, even if you're really, really good that finger drumming, right and random can kind of help achieve some of that. And I'm gonna look at that again later in detail. Velocity is has to do with the velocity setting. So if we take this group and we were to kind of drop it in here and look at the groove here , we can see that you know, there are velocity settings as well as, um, committee note values. And the extent to which we have a velocity applied or not applied is essentially the degree to which these velocity values are being applied. So full velocity is gonna mean, You know, the V's are of the velocity settings for these different media notes down here. Is that 100% of its value as it's being applied to Miami and break? If I go down to zero, then, um, it's not really applying the velocity, right? It might be applying the timing, but not the velocity. And then as I go into negative numbers, it's basically creating an inverse relationship. In other words, um, it's going to be deducting, um, the the velocity value by whatever amount I I choose here, right? So, in other words, it at full 100% allowed note would be quiet and a quiet note would be loud. Um, based on, you know, whatever the velocity values are down here. So, you know, again based his resolution. We got quantities here is how strict is that gonna be? That's gonna be based on the base value itself. Generally, you're using a groove because he wanted to groove you like the sound of that group. So a lot of times you really don't want the Qantas setting at anything. Sub zero timing is how intense do you want it? So it's like Well, you kind of like it puts a little too strong. Then you can trim it down with the timing value random. I like to use personally for humanizing and then velocity. It just gives cover Another aspect. It's another dimension. Besides, timing is the velocity, and you can kind of mix that taste. All right, so that is basically how the group pull works in the next lesson we're gonna look at Well, what can we do with that? And actually see how it can bring this baseline and this drum track kind of grooving better together. 5. Syncing Clips with Groove Pool: All right. So let's dive into this and really look at how the group pool works and, like, you know why you'd want to use it. Um, So I'm gonna use this baseline groove, actually, and I'm gonna attempt to make this base and the Ahmen drum loop kind of sink better together. Now, if you haven't already, I suggest you download this group, pulled them a project, and you can just download the file from the course and then loaded up and kind of walk through it along with me. I think that's probably the most effective way to do this. I think that, you know, the almond break is probably something a lot of people already have. If you don't, you can probably get it online. I can't really, um, make too many references to commercially because, um, you know there is the potential of doing copyright infringement even though the almond break is universal. But I'm using it because I know that for a lot of people, you know, this would really be educational, cause it's a kind of groove that people are working with, and they're cutting up and they're trying to work into their music. this baseline here. This baseline clip, I believe I've found just somewhere in the able tune, um, library of Or maybe it wasn't one of my packs or something. So let's just listen to how these sound independently. First baseline here and we got this drumbeat. Now, the two of them together kind of really Well, actually, let's just take take the groove off there. So this is my original and, you know, it's just kind of like, not really grooving that well, they're both sing, their votes warped. And they're both kind of sounding Well, time, but they're not really grooving with each other, right? So earlier I had actually extracted by right clicking on my base clip and going to extract group. And that's where this groove over here, which was just automatically named after the clip came from. So I'm gonna go ahead and I'm gonna drag that on to my arm and break Now, Another way we can do that is I can select my almond clip coming down here into the clip area I can actually select. This is this drop down is automatically gonna be populated by whatever's in the groove pool . So I can also selected here and this commit button, By the way, that is destructive. So if you hit commit, I'm gonna be taking the effects of this groove on the almond break, and we'll be making them permanent within this clip. So generally I don't use commit there unless I just you know, something happens that I'm just really in love with him. I think, Oh, I'd hate to lose that. Generally, I don't use the commit, but because you don't need to, there's no real value to. I'd rather be able to switch the groove later on anyway. You can select it down here or you can just drag it over. So now let's listen to these two together. It is grooving a little better now. Okay, so I can actually see. Let me take this down to zero. This is what we had before, right? So by changing timing, I took the intensity of this group. How it's being applied on the almond break down to zero are so essentially. No matter what these other settings are, there's no groove really being applied. And as I ramp this up, you'll hear hopefully with bass and the drums coming there just working together a little more rather than working separate. There you go. Now, I'm not really gonna bother with random here. That that's great for humanizing. But, you know, this almond break is a totally human break. That's why people love it. So I'm not gonna mess with that velocity. I'm also not going to because this is a really live really well accented drum loop the arm and break it right. I'm also not going to be doing really a whole lot of quanta izing we could see maybe the quanta izing just kind of running against our years and see here where they think sounds better. I don't like it, right, so I'm just not do that. So I like this a lot better, right? So this is before they're kind of fighting with each other. This is after it's a little smoother. Now, the almond break and this baseline are stylistically very different, right? So, like, if you take like r and B drums and you put it with some rock baseline, you know, you're only gonna be able to do so much magic by putting a groove on it. You gotta keep in mind though, that if you had slight differences like you had, you know, a couple of dub step libraries and one library had a really cool baseline and another one had a really cool drum beating that you liked. But they were from different libraries. Maybe they're not sinking or like working grouping together perfectly. That would be an ideal time to used the group from one to the other. And I find this extracting process like extracting from one of the instruments to the other . So is the best way to go. You could also extract the drumbeat here from the arm and break, and then, you know, it adds it over here you could actually take remove that from the almond break, come over to the baseline and say, Okay, I want the baseline, actually, to follow the arm and break, and then let's listen to how that sounds. Not wonder, too. If I were to get the almond break and I will also make the almond break, follow the baseline and I was kind of bring it down like, say, 50 50. Now what's happening is I kind of have I have the original based group in the original drum group drum grooves kind of trying to be more like the base, and the base is trying to be more like drums. And in that way I can kind of optimize and blend different grooves so that I'm getting that like, more cohesive musical field. So that's what you could do with a groove. Pull in the next few lessons. I'm gonna kind of talk with you. I'm going to switch over to the push, and I'm gonna talk about subdivisions because it's really important, I think, to understand what's going on in subdivisions and understanding rhythm a little more intricately in order to use the group pool. No, Like what? What am I looking for? What kind of sounds do I really need? So I'm gonna talk about that in the next few lessons. If any of this is unclear or if you have any questions at any point in time, please, please, please reach out to me. I'd much rather hear from you through messaging and then, you know, to find out later that you had a concern or a problem that whole other other students shared. I really value the opportunity to hear directly from students. What's working? What's not, what questions come up. What materials or maybe downloads might be helpful. And then I have the opportunity to do that voice please reach out to be all right. So now we're gonna move forward with a few lessons on subdivisions. 6. Understanding Subdivistions: Okay, So what I want to introduce here is this concept of subdivisions and explain it in the context of push, because push is pretty much and and most of what you do enable two is based on subdivisions , and this may not be a term people familiar with Okay. So up and down the right hand side here, you know, you have different values, like quarter in eighth. And those are subdivisions. Quarter is a way that we divide. Measure a measure up into quarters to quarter beats 4/4 beats in a measure. And eighth is, you know, technically ups when a measure is divided in eighth parts. But it's when we take quarter notes and we divide corner notes in half, right to make eighth notes so we can hear if we use the repeat function and I select, let's say quarters and I just hold the kick. Then we hear kicks on every quarter. Now, this is all based on whatever tempo I have set up by changed eighth, then your hearing aids, right? If I change to 16th you're hearing that I'm using a repeat feature, right? Let's go back to eighth and then quarters now that's hearing it, but we can see it too. So this is a visual representation of exactly what we were experiencing before when I was holding this and using the repeat feature. But we can see it on the push as well to go ahead and set up quarter notes. Right. So what we're hearing now is exactly the same as when I was holding the kick with a repeat feature at quarters at eighths. We'd be looking at something like this. Right. So what we're hearing and seeing here? One and two and three and one and two and three and four and one and 2341234 And so on. What we're seeing here is eighth notes. The subdivisions of eighths, literally. You can see Well, that's 1/4 note. I'm dividing it in half right now. If we divide those eights in half, just use one measure so that it plays faster. My top pad up here is a little buggy. Now I'm hearing 16th and this is exactly the same as if we were to use the repeat feature and we were to have 16th enabled. Okay, so that's what subdivisions are. You can talk about it in terms of fractions and you can see it on the push. Now, in the next lesson, I want to talk about how you use subdivisions to improve your beats. 7. Using LFO's for Rhythms: All right, So now let's talk about some mechanisms for generating rhythm and thes air all going to also relate to our discussion of subdivisions. Right? So what we look at here is the analog instrument. This is just a real basic kind of. This is literally the default preset for analog instrument. I just loaded onto a channel in the last in the last lesson. And what I'm gonna do is I'm gonna turn this into something rhythmic using an LFO. So I'm gonna kind of walk you through how I do that. Alright. So I've got my analog instrument selected, right? I'm gonna click in two analog, and I'm going to go forward here to l f 01 Okay, I'm a turn lfo one on. Then it's gonna give me all of these options right now, the one thing I want to do is change my lfo sink to beat. That way, it's going to be based on whatever tempo I have set. And I'm just gonna go with quarters for right now. We're not doing any subdivisions is just quarters. Okay, now there's no change. I've turned on the LFO, but of course the LFO isn't affecting anything so that what I'm gonna do is I'm gonna go back to filters, and I'm gonna go to filter modulation that you can do this in the interface. You'll see that if you click on filter, then you get these same values. I'm just doing it on the push here also, because I want you to know how to do it. And personally, I always find a lot more fulfilling to do this stuff with an interface rather than a mouse . I just feel more musically inclined about it. All right, So now free F one meaning filter one frequency is gonna be driven by the LFO. Just gonna change this value here that say about one. Okay, now it's still we're not really getting any effect. So I'm gonna go to filters here and I've got filter one turned on. I'm gonna turn F one the frequency all the way down to zero. Okay, now you can kind of hear there's a little bit. I mean, turn it up a little bit. There's a pulsating rhythm in quality, and this is being driven by our LFO. Right? So if we go over here to our LFO and I changed this aids. Now you can hear I'm getting arrhythmic effect. Now if I change the LF one shape two rectangle There we go. Now e, get this kind of on off, right? Cause because a square wave a rectangle wave is literally kind of abruptly going from full amplitude to inverse amplitude. So I'm getting this kind of, like, rhythmic, kind of gaining type sound if I change this to 16th. So in this very simple way, I'm using an LFO inside analog and on I'm creating arrhythmic effect using subdivisions, But it's all kind of driven by an LFO, so we're gonna talk about some other really interesting ways to generate rhythms. And again, I want to remind you always think about when you're using subdivisions Eighths on 16th. Do so because they add resolution or precision to your creative idea. Don't just do it because they sound cool, like without having any further artistic thought. Part of what this course is really designed to do is to try toe, provide different perspectives on inspiring musical creativity and musical ideas. So, in in an effort to do that, I highly recommend that you approach using eighths and 16th and further subdivisions, although eighths and 16th are far more useful in most cases than, say, 32nd or 64th notes use them because they provide some kind of resolution there might. You might not need a lot of resolution, you know, like a pulsing bass in quarter notes might actually be perfect, because the base is a really fundamental idea and it doesn't need to be real busy. Okay, so just just ah reminder to think about this in terms of resolution and let's continue on with the course. 8. Rhythmic Gating: So in the last lesson, we used a square wave in our analog synths patch. And the outcome of that was that it kind of had this rhythmic sound like this. Right? So what's happening there is that a square wave is essentially allowing amplitude and then removing amplitude. And a word for that in the sort of audio engineering world is gating. And I want to show you how we can achieve this exact same sound, but with gating instead of an LFO. So it was done in the last lesson in Allah phone. If you want to look back at that, go check it out. This lesson is about accomplishing the same thing with gating. So what I'm gonna do is a minute go to analog again. I am going to turn our LFO off, so we're back to this sound, right, and I'm gonna go ahead and I'm gonna actually add a device to this channel called A Gate. Case of that is in audio effects and it's just called Gate. We're scroll down here. There it is. And I'm just gonna load the default setting. Now, if we look at the screen and we see that there's a little triangle here that we can expand . We actually get some parameters for setting up an external input for our gate. Now, what the gate does is it will like our square wave in the LFO. It can actually gate sound or or it can cut it off for allow it through. It says they're literally like a gate. It allows sound through or cuts it off. And using these parameters on the left hand panel of our gate plug in here, we can actually set up an external source for this example. I'm going to use my 808 drum machine. Let me use the kick. Can we just can't one bar and I'm gonna go ahead and I am going to just set up a four to the floor kick. Now, if we go back to our analog channel and we look at gate here, we're going. We're gonna look at the side chain here and we're gonna enable that. And then what we're gonna do is we're gonna select our 808 channel and you can see over here now that there's some kind of graphic representation that is indicating that it's kind of following our kick right. The next thing we want to do is we want to use our threshold to basically silence the audio coming out of our analog plug in. So you can hear that even if we mute are kick, we're still hearing that in our analog channel. Now the interesting thing happens when you go back to, let's say, our kick and we had in eighth notes. Now let's hear What are Analog Channel sounds like Now it's playing eights, right? We go back again and we put in 16th. Now, of course, we're going to be hearing 16th right? So now we're literally getting a gated sound. If we look at the screen, we'll actually see how the gate is functioning. The gate is opening and closing as quickly as input is coming out of our 808 channel. So that is Theis. Essential basics of rhythmic gating m and show you in the next few lessons. Some creative ways toe work with that, And this whole time we're kind of bringing together the concept of subdivisions trying to figure out how to make our music more interesting and specifically doing it using rhythm so L. A foe's air. Great, but l A foes can't create interesting patterns. You know, For example, just quickly if we look at this kick pattern and instead of just having every 16th which we could achieve with an LFO, we wanna have something that's much more irregular like that. Say now if we play it and we go back here to our analog, we're not just getting the standard arrhythmic gating that we might get from an LFO were getting this, like pattern right. This pattern is achievable using this kind of rhythmic gating. And that's what makes rhythmic gating more effective and more powerful. Then LFO So let's move forward with more lessons. We're gonna talk about this more and do some more hands on demonstrations. 9. Velocity Sensitive Grooves: So in this lesson, I want to do two things. I'm going to show you how to create a group just out of a MIDI clip. But the purpose of that is to look at velocity sensitivity. I'm gonna give you a real basic overview this first. So if we're just playing the mn break here, and, uh, we go ahead and turn to stand a little bit and we go ahead and we go to my grooves here and I'm gonna put swing groove on there, it's gonna come up in the group pool and I'm gonna go ahead and use my velocity here. But you can notice how dramatically that change things. Whereas if the velocity level is it zero, it's a significantly different clip. Now, what's happening here is that the velocity inside this mini clip is influencing what's going on here. If we try a different clip here, the base line that I extracted earlier let's go ahead and listen to that. So listening to this if I put the velocity and negative, which is basically inverting its effect, I wind up basically accenting with my velocity in this baseline. Different parts of the beat right now there's only so much could be done because this original drum sample the break already has, like a lot of dynamics is there's obvious and very powerful accenting going on. But all that's happening here is that there's many information inside this, uh, this group. This group filed Groove clip, and I can control how much it influences. So like we said before, timing is kind of intensity. How much does this groove overall? Affecting it? But this is just how much is the velocity aspect of this groove affecting its? We're not talking about timing. We're not talking about randomness o r Quanta izing. We're just talking about the velocity values in this clip. So what are those philosophy values when we could just load it up here into, let's say, an empty midi channel and we can look at it as a MIDI clip? And what we see is notes. These air always gonna be on the C one note value so you can go ahead and using that one see value, create your own clips if you want. In fact, let's just do that. So I'm going to create an empty clip here. I'm gonna find the note. See one down here and I'm gonna go ahead. I mean, just right. Ah, that's a two and four like a backbeat in here. So I'm emphasizing the two and four, all right? And then I'm going to name this clip. Let's just call it back. Beat is a very simplistic example. And then I've got my velocity settings, right? I'm gonna go ahead and make sure that each one of these notes has a velocity value that's, like fully maximized. So just gonna across like that. So I've got velocity value of 1 27 now for every one of these notes, and I'm gonna actually right click on this backbeat mini clip that I just made Emma say extract group and you're gonna see comes up over here and my group will is backbeat. So this groove right here is a super simplistic groove. It's not as complicated as some of the ones you find in the Groove Library, but is one of my own making, and it basically is going to reinforce the backbeats on the two and four so I can drag that from the group pool over my break. And then let's just hear how that sounds. So if I go ahead now and I turned the velocity up, it's actually accenting the two and four more so than it was before, So that's a real simple example. You could mess around with it. You can explore what I found really helpful about. This is just understanding that I could I could go into a clip, a groove that I like. And I might make a few modifications if it's not exactly what I want and that I can control not only the timing of notes and you know how they're how they're placed in time but their velocity values and use that as kind of a sub control Teoh kind of micro Manage, if you will, my break in the way that it's being kind of forced to hear this group. All right, so that is that for right now we're gonna move on and talk about humanizing in the next lesson. 10. Humanizing Grooves: Now we're gonna talk about humanizing groups. So in the last example, I kind of made my own backbeat here. Very, very simple clip. And then I dragged that. I converted it into a groove. And then I copied it onto my break so that the group is backbeat. Now, when I play this drum kit, we talked to the last list and how I can use velocity. But now I'm gonna actually kind of humanize this a little bit using randomness. Maicon's out here. How a 100% random starts to make it sound coat kind of chaotic, right? But if I wanted to just kind of fuzz it up a little bit, make it feel a little, a little more humanized, right? Not necessarily out of time. But introduce him or imperfections, then I just want to use a low random value. So this is no random izing. And of course, this is a good drum brake, so you know, it's timing is really good. Got a good human feel. I bring that up to say, like around 15% you could feel how it's just a little bit more, um, in perfect, you know, it's it might be what I'm looking for. Like maybe I really like this groove. But I just kind of wanna, um, make it sound a little more GarageBand a little more. And I don't mean the software like I mean, like, you know, kind of amateurish, a little more amateur sounding because, you know, in the same way that sometimes we want to use low fi sounds kind of stylistically. Sometimes we want to use amateurish sounding loops and breaks for musical effect as well. So a really good way to do that is with the random izing aspect here in the group full. And you could just change it to whatever value sounds right to your ear. In the next lesson, I'm gonna talk about adjusting the group intensity. 11. Adjusting Groove Intenstity: now that we've created a groove and we've kind of messed around with its velocity, And we've also messed around with its humanizing he would humanized a little bit by mess around with randomized. I want to talk a little bit about how to adjust the groove intensity, right? So let's say that I can't really find that sweet spot. This is a real common experience. I have, like, I know theoretically that randomized is making stuff sound a little more in perfect, and that's going to humanize it. I know that my velocity is following the velocity values in the groove clip. Yeah, but, you know, none of these percentage combinations are really perfect. I can kind of get to the point. I'm out here where I can definitely tell. Random and velocity are affecting this clip. But I want to still have even war control, right? And so I'm gonna use timing, which I would really kind of preferred. That hit labeled this intensity. So I'm gonna change this to zero. So right now we're basically just listening to the original clip. You know, even though this groups have been applied the intensity of zero now, this could be kind of like my control, so I could say like, Okay, I really like the way that random izing and velocity were working, but I just want to tone it down to, like, you know, whatever This is 80% of its value. So in that way, I'm kind of I'm still applying the groove. I'm still using the humanizing and the velocity aspects to control my sound, but then I can take the sort of collective effect of that groove, and I can lower its intensity and kind of mix it to taste. You know, it's kind of like putting salt and pepper in your food like you can just kind of do it until it seems right. And so timing is really about this. Timing value is really an intensity value, and it's very effective for just kind of tailoring the final flavor and overall color and effect of the groove once you've got other values set. So that's really simple tools. I just wanted to go over each one of these in the next one. I want to talk a little bit about quanta izing and then also talk about global optimizing the grooves on a global level. All right, let's continue on with course 12. Quantizing & Global Control: So there's one other value here in the groove pool called quantum ization. Right? And what I'm gonna do here, is it gonna take this baseline groove instead of the backbeat which I had made and I know is Qantas because I drew in the note gonna put that on my almond break there, Okay? And I'm going to use the quantifies value here to make everything way more strict and rigid . It's again, this quantities is working on a resolution of 16th so it's going to really tighten things up. So let's listen to this. No quanta izing sounds a lot more like the original. It's got got kind of like a good little to it. As I increased the quantity eyes, it sort of becomes more static is becomes more rigid, more mechanized. So what this is doing is it's taking the information in the baseline groove, the midi information and anything about it that was not quanta ized. Let's just check it out here, see what it looks like so we can see here that, you know, there's a little bit of ah, gap here, whereas when we quantifies it and we lock it down, you know this note over here would line up right on the grid instead of just being a little bit ahead of the meat. So that's an example of what this quantities is doing. And you can hear its effect when you're listening to the loop with full Kwan ties versus no Kwan ties. This is a more human sounding, and that's just it's not really that Qantas has a lot to do with it, humanizing it. But it does definitely have something to do with kind of dehumanizing at making sound bore mechanical. So Qantas is very handy If you've got a groove, that's just kind of like, you know, maybe maybe you're trying to match up a pretty sloppy baseline with Cem tighter drums, and the software can only do so much to kind of slop. If I the good the good drumbeat with sloppy baseline, you can actually use quantifies to extract the baseline. But then tighten up the May sign before it's applied as a group to the drums. You know, I mean so it's very powerful tool. All four of these aspects give us very unique and powerful control over over the final group and its effect All right. So one other thing I want to talk about here is glute global quantum ization. Just quickly. It's not really worth talking about in its own lesson, because it's quite simple. This global amount down here in the lower right hand corner of the group pool is gonna be like, OK, we've got, say, we've got these two different grooves and let's say that these groups are applied to hold lunch, eclipse or take this example and even multiply it out. We've had, like, 12 different grooves, and they're applied to, you know, all irregularly over a dozen of dozen clips or something, and you like the way everything sounds. But you kind of want to, like just Jen really reduce or increase the effect of the groove pool as a whole. All the grooves at once where you can use the global amount here. So if I got everything sounding pretty good, but I wanted to kind of play around with this in performance, um, then I could actually make this adjustment in real time, and it's very simple concept. There's a lot of global values throughout Mableton. This is just a nice one. Once you've got all these grooves, you've got all kinds of stuff. Instead of having to go through each group and make little microscopic changes, each one you can just kind of globally reduce the impact of the group pool is a whole or increase its effect as well. So in the next couple lessons, I'm actually get a demo. Some really cool rhythm related stuff it has to do with subdivisions has to do with the way grooves work. And we're going to be using a vocoder and a drum machine and a basic synth patch to do some really cool demos. So stick around, and if you have any questions, please let me know. I'm always available to answer questions I'd love to hear from. You love to hear your feedback. You know, at a mind if you have critiques as long as they're constructive, just tell me what you know you feel could be done to improve things. And if you love these new lessons, great, please let me know. You know, if if you want to see more of this kind of stuff, it's, ah, it's it's really a pleasure for me to make the lessons and the grateful that you're enrolling and checking it out. So good luck with using this material. But if you have questions, of course, reach out to me. So let's move on to the demos. 13. Demo: Vocoder-Based Rhythm: this demonstration is focused on something. I do a lot in my life performance. I love the way that I can use vote coders with beats, so I'm actually going to put a vote kit vocoder on my break on my sample break, and I'm gonna drive it with an arpeggio hated court. Okay, so the first thing we want to do is I'm gonna go into my project here, and I'm just gonna delete this midi channel in this extra audio channel. I've got my break here, Right, And I'm gonna go ahead and I'm going to actually, I should have maybe left one of those many channels, created many channel here, and I'm just going to write in a C major chord. So C e energy. And then I am going to go ahead and bring those out. My I guess I'll go out over a full for more loop. Right. So I've got this. Uh, I don't actually have an instrument on there right now. I'm gonna hide the groove pool for right now and then go into instruments analog and just putting that ever under the channel. So we've got just quiet all the other clips just got this very basic C major chord happening, right? But now I'm gonna put an arpeggio later on there, so I'm gonna go to my MIDI effects and arpeggio later. I'm gonna bring that down there. Um, I'm actually gonna go two up down and see what that sounds like. Okay, so right now we're having this go on at the whatever rate is set with this style down here . Now, what I want to do is I want to actually drive a vocoder on my drums so I'm gonna actually place the vocoder on the drum track. I'm going to drive it with external input from this analog. If I think you're gonna find it. It's a really cool sound. So let's just play thes both together, get them sync up. All right, so that sounds weird. But once I get the vocoder going, you'll hear that it is pretty cool. So we get the audio effects and we scroll down to vocoder. I'm gonna put that on the track with my drum sample, and then I'm gonna change this value down here in the vocoder. External animus. Select the track with my, uh, analog instrument on there. right. So now when I hear this, I don't really hear anything yet to bring this dry wet down. I haven't actually mute the synth so that I don't hear that at all. But as I bring up this dry wet But you can hear that I'm now getting like, some kind of joint venture between the beat and my analog instrument. I'm getting this really cool. Kind of like highly rhythmic, Ah, highly rhythmic variation on my simple arpeggio. It'd court here. So in the next lesson we're gonna do is instead of using a drum loop, I'm gonna actually use a rhythm that I'm creating on the push in a drum machine and which you can see is really cool. There is that I can actually kind of create, um, a totally unique pattern. And I can kind of mess around with changing my rhythm on the push, and it actually winds up changing that pattern. That is the rhythmic pattern of the analog instrument. That's what we'll do in the next lesson. 14. Demo: Patternized Vocoder: All right, Great. So in the last lesson, we talked about how you could set up a vocoder on the drum loop, but have it driven by an arpeggio. Did cord coming from analog and Thea output of this channel essentially winds up being kind of rhythmically affected by what's going on. The drums will just listen to that quickly. So what I'm gonna do now is instead of using the rhythm that's inherent to my break sample , I'm gonna actually program a beat. So let's go over to the push. So I've loaded a simple drum machine into a channel here, and I've got this set up. And of course, you know, I can program this just like you'd normally program beats. The thing is, now, this is gonna actually impact the way that that arpeggio hated analog channel sounds. So let's just go back to the screen for a second. And we're going to drag the vocoder from, uh, the the break sample over to my drum machine. So we're just gonna drag this onto my same exact effect, right, because it's still being driven by analog over here. So now when we play these two clips or it's gonna take that out of the scene so that I can play the scene, right? So what you're hearing now is the fact that the beat of programmed on my channel here is affecting the way that the arpeggios and chords playing back. Right? So if I take all the beats off, I'm I'm not driving any kind of, um, rhythmic pattern to that arpeggio hated sound. So I put on the kick. Now I'm getting four to the floor. But of course the pitches air different because the arpeggio gator is generating pitch right. So this is all just a kick. But I can see some of these aren't sounding a Zob v Issa's others. You can see how I can actually now change the effective rhythmic pattern, whereas before it was just the brake, the brake was the break. So you know, that was the pattern that was in the sample. But with this kind of set up, I can actually change the way that that arpeggio hated analog synths. Sound actually is being played, so there's two aspects. There's the arpeggio Haitian just taking a basic court and kind of turning it into individual chord tones. But then there's this rhythmic pattern, which I can manipulate in real time while I'm performing, which is really one of my favorite things. Anything that gives me more control and more creative, uh, kind of intuitive control during my performances is better. So that is a great example of something. I think when I figured that out really gave me a lot of inspiration, I hope that it is as valuable to you as well. If you have any questions on it, please feel free to reach out to me. 15. Conclusion & Project: Now that we've looked at using the vocoder with with with drum patterns be a side chaining We've looked at the groove pool controls We've understood hey, can extract group pools where groove pools are stored in the stock installation All those kinds things how you can even customize them using your own mini clips. Now that we've done all that, it's important to actually use it. Right? So what I'm gonna suggest as a as a project that will help you, um, Thio Thio, I guess. Absorb what you've learned more deeply is dig out. You gotta mix maybe something you're working on, Maybe an old mix even, you know you can go online. There are some people who made their mix is available for free. Just get yourself a mix that you can work on And the main thing here is to look for what can I add rhythmically to this mix right. So try toe, explore the concept of Maybe don't base the foundation of your tracks rhythm in drums, maybe based them on a pattern that's coming through the side chain on a vote good or something like that. Look, for if there's ways that you can replace existing rhythmic element with some of these more interesting things. Could you do it with an LFO? How does it sound with different LFO way of forms? How's it sound with with assault wave versus a square wave or a triangle wave? How can you use wave offsets? How can you use attack and release times to create mawr? Interesting, unexpected rhythmic concepts in your tracks. Then, when you've done that, share your track here and if you want, share it with the whole world, get some feedback. That's the best way to make progress in your music. I'm always available for questions. So if you have any questions on the material we've covered, or if there is, ah, stuff that you kind of wish maybe I had covered in more detail. By all means reach out to me. I'm totally open to criticism as long as it's constructive. Okay, in fact, I really like to hear from you if you have some constructive criticism for how either this course could be improved or how future courses could be improved. How Maybe there's a topic you'd like me to see do a course on in the future, so please reach out to me, Sherry Work. Get the project done. I know that all of this information in this course has helped me a lot in my productions. It's made made it possible for me to come up with way more interesting tracks because my rhythm has has unexpected dimensions, and I hope that is the outcome for you as well. So please reach out to me if you have any questions and good luck.