How To Create Backing Tracks With Ableton Live | Mark Schroor | Skillshare

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How To Create Backing Tracks With Ableton Live

teacher avatar Mark Schroor, Professional Drummer & Record Producer

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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

29 Lessons (2h)
    • 1. Who Am I?

    • 2. Basics Of Ableton Live

    • 3. What You'll Need

    • 4. Tools: Ableton Live

    • 5. Tools: Audio Interface

    • 6. Tools: Balanced TRS

    • 7. Tools: In Ear Monitors

    • 8. Tools: Y Cables

    • 9. Tools: Mixer

    • 10. Importing, Syncing, Warping

    • 11. Audio Preferences

    • 12. Master Tempo Automation

    • 13. Adding Locators

    • 14. Creating Key Commands

    • 15. Recording Cues

    • 16. Time Signature Changes

    • 17. Modifying Length

    • 18. Color Coordinating

    • 19. Freezing Tracks

    • 20. Collect All And Save

    • 21. Exporting

    • 22. Adding Photo & Video Content

    • 23. Routing Outputs

    • 24. What A Full Ableton Session Looks Like

    • 25. Lighting

    • 26. Looping Song Sections On The Fly - Ex. 1

    • 27. Looping Song Sections On The Fly - Ex. 2

    • 28. Different Types Of Tracks

    • 29. Farewell

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About This Class

As a full time touring/studio drummer, I have spent 10+ years drumming for artists from all over the world. I’ve also spent years mixing live bands on tour, and have learned the ins and outs of what makes a great live show. 

Almost all of the bands and musicians you look up to, play along with backing tracks. Whether it’s that extra synth part that you can’t play, or some extra percussion tracks to fill out the sound, most bands are playing along to tracks.

Many of the artists I’ve toured with, play along to backing tracks, and I’ve witnessed firsthand, how important they can be to crafting a great live show.

If you’re ready to take your music to the next level, this is course is for you. In this course I’m going to teach you, step by step, how to:

  • operate Ableton Live, the program that will run your tracks
  • set up click tracks, and cues to direct the band
  • sync logos and videos along to your tracks
  • sync a lighting show to your tracks
  • loop song sections on the fly
  • set up your backing tracks system on stage

I’m always active on the Q/A, and will always answer any questions you have on this course.


Meet Your Teacher

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Mark Schroor

Professional Drummer & Record Producer


Hi, I'm Mark, and I get to live my dreams out every day. As a drummer for 14 years, and a Record Producer for 9 years, I've had the pleasure of working in the studio, and playing live with some very talented, award winning artists, from Canada, USA, Australia, New Zealand, China, Taiwan, etc...

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1. Who Am I?: Hey, what's up, guys? I'm marks Traore. Thank you so much for checking out this course Super excited to be teaching you guys about how to run able to live. I'm a drummer and a producer, and I've been running able to live. Any of the bands I play live with their tour with were running able to live for a backing tracks. Whether you're in a country bands, your hip hop artist, you doing folk or metal or rock or whatever. So many bands are going out and playing along to backing tracks just to ramp up the live show and make it larger than life. And so I'm gonna show you how to do that. We're gonna go over the basics of able to live importing your files, sinking them up. Click tracks were set up cues so you can count in the song and stuff like that where if you have any video content or photo content that you want on the big screen while you're playing, all of that could be set up in able to live while you're backing tracks or playing. It's super cool. Thanks for checking it out, So here we go 2. Basics Of Ableton Live: Hey, what's up, guys and gals? Hope you're having a great day, Justus. I am today. We're gonna do a crash course on able to live so you can get your live backing tracks up and running super quick. So let's boot up, able to live and take a look under the hood, so I'm running able to live. Nine Suite has three different versions of able to live. There is the intro standard and sweet version. Throw great the different price points and offer different features. Sweets, the full version and intro is like the light version and obvious. It's a lot cheaper. Everything we cover in this course can be done in any of the different versions. So whatever works with your budget on the only thing that doesn't that won't work is the video and picture content won't work in the intro version. Other than that, everything else works the same in all the different versions. So cool. This is the ah, actually here. Let me open these pains here. Usually, this is the default layout of able to live when you boot up a new session. Looks like there's a lot of stuff going on because There is a lot of stuff going on, but a lot of it We can probably just eliminate and simplify. So, um, I'm gonna run you through some of the quick details. Um, right over here, we have our browser. This is where we can access samples, plug ins, effects. Um, crap like that. Um, what if we want? If we don't need that, which today we don't need that. I'm just gonna hit the arrow here and close that same thing with Over here. We have our file manager. This is something we don't need to use at all. Um, at least not today. We can come back to it at a later date, but, ah, I'm gonna grab the handle here and just close it so automatically, things are looking a little bit simpler and cleaner weaken. Do the exact same thing with the bottom here to if we want to and close that, have the van. We're gonna be using this a little bit, so why don't we just leave it open? Um, so unable to live? There's two main views right now. We're looking at session view, which lays out everything in lists here. And you can list different clips. She could have, like a verse shaker course shaker verse inthe pre chorus synth, whatever you know. And that's a bit of a different way of laying things out. This is more of like a DJ's Lay out. A lot of DJs really like this view. I don't use this at all. I'm not a deejay. Um, so I like to use the arrangement view. So right now we're looking at session view. If I go up to the top right here and click here, this allows us to look at arrangement view. So we get lanes of different channels. So this looks a lot more like a traditional Daw like pro tools or logic. I come from a pro tools background. So to me, this just looks so much more appealing, and it's a lot more easy to use. So, um, you can totally set up tracks in in session view also, but in terms of this course, we're gonna stick to this. Um, so if you want a toggle between the two, um, if you get tab on your on your keyboard, you can just toggle back and forth between them, so I'm gonna delete some of these channels just so we can build right from the ground up. So usually comes with too many channels to audio channels and then a couple of return tracks. That's that's just sort of default. What able to does. So I'm gonna select the 1st 1 just hit delete. Let me get rid of it. Won't won't let me get rid of every single channel. So I'm just gonna delete everything but one audio channel. So and since in this life in this course we're gonna be using mostly audio, we're going to stick to using audio channels instead of midi channels. So here we have, like our track info, our title. If we want to rename, we just highlight their hit command are and type in the name of the track. So let's just name it, Click for the heck of it. And then next to it, we have our track mixer. So we have This is like a mute button. It activates the channel. So instead of them having a mute button, you can just turn on and off the channel. There you have a solo record arm pan. If I If I select this and dragged up and down. I have, ah Pan, and then we have volume next to it. So I'm not gonna get up. Go over every single little detail about this program. What's really cool about able to life? Probably the coolest feature is that if I hover my cursor above any feature in this program , in the bottom left here we have our info view, which will tell us exactly what that button or what that feature does, which is really cool. I use it all the time. I pretty much just taught myself able to live through messing around tinkering and finding what everything does. So, for example, I hover over the play button. It tells me exactly what it does if you don't know what a play button is. That's how you know, same thing over here. Hover over here, tells us in the bottom your tap tempo and it gives us a description how it works. Why, how to use it. Um, so I'm not gonna teach you every single little detail. I'm going to go through a lot of the practical stuff that I use every day, and you can probably figure out a lot of it on your own outside of that. So, um yeah, so anyways, so we have our track view here. We're looking this lane here. This line we see is is automation. So we can we can click and drag. And if we want to do volume or panning automation, we'll get into that later. And then, yeah, we have We can control what kind of automation were viewing here. And yeah, like right there. Um, and then our track mixer. What we do want to add here is we're gonna go up to view and add R r i O or are in it. So right now, it tells us right here we can choose an input for this channel, and then we can choose an output, so it defaults to amount. Teoh put to the master. So we have a master channel down here. I'm gonna open up. Um, this is default That stays here all the time. So any channel you create is going to default to go to the Master Channel. So and then, just like the rest of channels, we have a volume and pan and everything right on the master there. So that's really handy. Um, we have a ruler here so we can see what bar were at at what part of the song, which is really handy. Um, if we have a right above our ruler, we get our zoom function so we can click and drag up and down to zoom in and out on a specific part of the song. So if we want to zoom in right here, I'm 45. We just sort of zoom in. We can ah, we can shuffled back and forth on the song this way to just by using a track pad just below the ruler. We got a speaker icon, and if I click, it's gonna play exactly from wherever I'm hovering that speaker over top of That's really cool to, um I use that all the time. Um, So right now, anywhere I click here on our timeline, it's snapping right to the grid, snapping right to the bar line, and that's really handy sometimes. But other times we're gonna want to grab our audio file, and we're gonna want to drag it a little bit. Maybe it's just a little out of time, and we just wanna shimmy it just a little early for you up the options here, we can turn our snap to grid function off. And now I can select anywhere in between the bar lines, which is really handy. So I go back and forth between those a lot. Um, you can turn that on and off. There's a quickie command four. That'll turn that on and off, which is really cool. If you want to create a new audio, a new audio file or midi midi file, we go up to create here, and we have insert audio track, insert many track concert return track, and there's quickies for all those command teas when I use all the time. And then as as usual, here we have our cut paste, split, consolidate, all that sort of stuff. We can go over some of that stuff later. Um, and that obviously are are saved function? Um, command asked. Make sure to always command s every time you make some important changes. Command s super important. I've lost work here and there, and it sucks having to rebuild it. So never forget command us. Okay, so that's Ah, that's a quick crash course in all of this stay tuned. Next lesson, We're gonna go in and we're gonna import some audio and start building are backing tracks. All right, See you guys. 3. What You'll Need: Hey, guys. Just wanted to show you some of the tools you're gonna need to build these backing tracks. One, you're gonna get a laptop. I like apple because they kicked butt. So get one of these Mac book air, whatever you want, PC's work to, um, and then on this where you need to run able to live because that's what this entire courses about. Um, on top of that, we need an audio interface. There's a ton of different brands that make these. This is the one I use. I use a few different ones, but this is the one I'm going to be using for this video. This is gonna This is gonna connect your computer. And this allows us to send our signal out to the soundboard so the audience can hear backing tracks. Obviously, we need some cables and stuff like that. I'm gonna put a pdf together so you can see what kind of cables you can use. A few different options and I'll give you guys some info on that. Really important. You're gonna need any your monitors. These are mine. Right here. You can get custom ones. You can get universal ones You just need something you can pop into your ears so you can hear the click track because you can't be running a click track through a wedge because you don't want the audience here in any of that. Um, so anyways, let's hop right in. Here we go. 4. Tools: Ableton Live: Hey, what's up, guys? So I'm going to run through some things that you need that will be really helpful in taking this course. Probably the main thing is having a copy of able to live. So we're here. We are able to dot com Able turns the company that makes live, which is the software we're going to use. Live is a digital audio workstation, also known as a Daw. Ah, so a lot of times people will refer to live as a built in or able to live or live. They're all the same thing. Mableton does make a few other products called Push and Link, but we're going to be focusing on using live and 95% of people that I know that use unable to in product you. Zabel's in alive, uhm, senators. Let's let's check it. It's traditionally a product that a lot of DJs use. But, um, bands and artists are starting to use it a lot more, um, to run tracks and stuff and even even arranging record. So anyways, let's check it out real quick. So there's a bunch of info here giving you, um, some overview information, so I'm not gonna run through all of that. But here's where you can find out all the information on it. There's three different versions of able to live. There's the intro, that standard and the sweet version all different price points. Don't be scared. You don't have to go get the sweet version. Everything I teaching this course. It can be done from all three of these. There's only one lesson that we cover that can't be done in the intro version, which is where we sink up photo and video content so we'll talk about more about that later . But if you want to do any of that, then I would recommend getting the standard or the sweet version. The sweet version does come with a lot of extra perks, so if you can afford it, go for it. I'd recommend doing the 30 day a free trial just to see which version is right for you. All right, cool guys, 5. Tools: Audio Interface: Hey, what's up, guys? One of the most important tools that we need in order to be able to use backing tracks for our live show is we need an audio interface. So essentially, what an audio interface is I could go in a way, more detail about this. But, um, I'm just going to give you the Coles notes version. You can look into a little bit further if you like, but it's something you can plug into your computer that allows you to go to use audio inputs and outputs of your computer. So if you own like a laptop, chances are the only input or at what you have is your headphone jack, where you can plug a set of iPhone headphones into, um so you can have a mic line in. Or you could send out, um through like an ox cable or something like that. Most of those products aren't really good quality, so we want toe using audio interface that gives us a lot better audio quality so we can plug audio interfaces into our computer via USB, FireWire and ah and Thunderball, depending on what kind of computer you have. So here let's Ah, let's take a quick look at some. So I'm gonna head over to Sweetwater. Doc, Calm. This is website that sells a ton of recording equipment, music equipment, etcetera. That's gonna type in audio interface is gonna pop up with a list eso here. We have different categories here. Let's just I've always been a fan of just using USB interfaces. Um, I do have a really nice FireWire one that I use. Um, but I usually don't go alive in the live shows with that. So these are different types of audio interfaces. They can look like a lot become. And tons of different shapes and sizes. Tons of different brains. Maketh, um um, So I'll just let you know a few things that you should look at four in terms of what you need for this set up. Obviously, if money is not an issue, um, go buy a really high end one, because chances are it's gonna last you. It's gonna be able to take a bit of wear and tear. Um, where some of the lower end ones can be a little bit temperamental. So you don't necessarily want it. Concha. No. During your life, show either way. Just make sure to take care of them. They're locked electron devices. So, um, here's one that we've used on the road a fair bit. So let's give you a quick run down of this. This is the Apogee duet. So this one thing you want to definitely make sure of is figure out. How many? What's the max amount of it puts you're gonna need from your computer? This is something we'll cover later on in a later lesson when we're talking about outputs. But, um, you just want to send out, um, one channel of click and one channel tracks Or do you want to run stereo tracks? If you run stare tracks and you're gonna need three outputs And if you want to send different stems Oh, so, for example, click bass synth backup vocals, percussion. If you want to send all of those things have separately, you might need 567 eight outputs. So this unit here we look, it has to in four out. Uh, that means we can plug two microphones into it, and then we can send four channels of audio out of it. If four is enough, this is a perfect interface for you. If you think you might want to use more than four outputs that I'd recommend getting something, there's higher inversions. But Barrenger makes this channel right here. That has, um, has 20 out. So and probably if we take a look at the picture. I haven't used this this unit, but we look here, we have all of these line outputs, which is where we can send their different channels. So, for example, we could stand click at one, um, percussion of to base of three guitar and four blah, blah blah. So, anyways, um, yeah, So a few things to look out for a few USB interfaces can be great. I've always liked running USB. Um, if you're building alive, backing like if you're building a rack, buying a piece of gear that has rack ears like this so it can pop into Iraq is really handy . If you're not too worried about that and you're looking to stay sort of on a budget, some of these cheaper interfaces will do just fine, obviously just take care of them because sometimes they're they could be made fairly cheaply. Um, but anyways, nonetheless, I've even had good, you know? And a lot of people knock Barrenger, but I've had some good luck with some barons. Your stuff? Um, I'm recording through this unit right here. Ah, talk to you right now. So, um yeah, so it's got a fair bit of outputs. Um, sorry. Where's the back here? So anyways, Doesn't matter which one you get, but this is really important so that you can have nice, clean audio coming at your computer to the soundboard. Cool. Thanks, guys. 6. Tools: Balanced TRS: Hey, so another thing you're gonna wanna pick up is a couple of balanced TRS cables, so you can also call imbalanced quarter inch cables because these air quarter inch connectors, um, the TRS stands for tip ring sleeve. Those of the three different ways of cable like this transmits a signal, so you don't need to know much about that. But these cables air are good to have because one end is going to run out of our audio interface and the other end is going to run into a D. I that usually, um, nine times a 10 the sound crew or whoever's doing sound is gonna provide a few D eyes for you and then you can run. Yeah, this from your audio interface out of a line out into a D i e. That's gonna send it to the board so they can send it back to your monitors or send it through the p A or whatever. Um, yeah, 7. Tools: In Ear Monitors: guys. What's up? So another important tool that we need to make this whole system work well is in ear monitors. Some people call them in years. Some people call them I e ems. Um, call him whatever you want. Come, headphones, earphones, whatever. There's a ton of different kinds of these, and it's gonna show you a few. So I'm on Sweetwater here. Um, I just typed in in ear monitors and the search bar. It comes up with a bunch of different products here. You don't need to buy these wireless packs. Um, but essentially, what in years are any of these sets of headphones They just look like ordinary headphones. Maybe to you, but ah, law. Most of these headphones do a really good job of isolating where if you pop in a set of iPhone headphones or something like that, you're not necessary. Gonna isolate very much sound when you're playing live. If your drummer, you're not gonna be able to hear the click track very well. If you're just listening through iPhone headphones, no matter how loud you turn it up, your drums are gonna be loud or that guitar. And next year's gonna be louder. That's really important. We get good quality in years because for one, they're going to save our years because we won't have to play super loud. We won't have to crank up the signal to come. Pete, With our drums, we get headphones to isolate. Really? Well, then we don't. Here are the instrument, the live instruments on stage, near nearly as much. And then what we can do is just have, ah moderate amount of volume in her headphones to play along too. So this is critical. If you're in a band that plays and tours often because you don't want to be subjecting your years two tons and tons of loud volumes every night cause you're going to go deaf. So, um, at least I don't want to be deaf. So and you probably don't either. So get a good quality. So all of these here are universal, meaning they work for everyone. You can just pick up a pair like this. Usually they when they shipped, they'll ship you Ah ah, handful of different types of tips, depending on, um, they all fit differently and seal differently. So whatever one works best for you and then it usually comes a little tool to replace the filters. So So this is just an example of, Sort of like a low end Sure set. Um, sure is a really good name. And in years, Sennheiser also makes good stuff. Um, there's also a lot of companies that make costume in years. If you're looking to do that, which usually sound better, they fit better. Look, cooler, whatever you want. You know, if you've seen, you know, Adele on stage, she's probably got to set a custom in yourself. There's a handful of different companies that make them. I have a set of, um all Claire's, um, this accompany it in Nashville, actually think they're at a Minnesota, But they have an office in Nashville. So anyways, this is what set of in ear monitors look like They actually look like the inside of a year canal. So these are really cool because they sound dynamite and they fit your year. Exactly. This company makes universal ones. Ah, but they also make custom ones, so yeah, definitely a bit more expensive. Um, you know, these usually on the low end started two or $300 go up to in the thousands. So, um, I like these. I have a set of these, Um, because of a few of the artists I play with, these guys have hooked me up with a really good deal. So, um, yeah, I love them and they sound great and used them night after night, and they kill it. So, um so yeah. Anyways, back to the point of getting a good set of in ears. It's really important, because as of whether your drummer or singer, whatever its most critical for a drummer to have these because at very least, if you're playing along the backing tracks, the drummer has to be playing along to a click track, or else your tracks won't stay in sync. Um, and you don't want to have to put a click track through a monitor wedge on stage or something like that you're gonna need in your monitors. Um, so whether it's a low end said it, whether you just start with a set of iPhone headphones or a cheap pair of stuff you got at the you know, walmart for 2030 bucks or you go up to this sort of thing. It's just really important to be able to have that isolation so that you don't have to put a click track. So nobody else the audience doesn't have to hear the click Dragons, just the drummer. And a lot of times, you know, if the rest the band is on in years also, um, then they can take some click track to. So, yeah, that's that. Cool, guys. 8. Tools: Y Cables: Hey, guys. So we covered audio interfaces. That's your best bet when it comes to using backing tracks. But say you're on a real budget. You just want to get up and running with backing tracks quickly. This is something that some bands do. I've done it in the past. It's not the most stable cause a lot of these cables don't hold up very well. But what you can do is buy one of these Y cables. Essentially, uh, this end right here, complaining it's an eight inch stereo. Um, that you can plug right into your headphone jack, and you can send out of able to live through this cable through the built in output, which is your headphone jack you can send out. And then if you pan your click to the left, which would be black on this on this cable specifically, and then all of your tracks to the right, you can plug these two lines into two separate de eyes and have and run your backing tracks in that way. Like I said, not the most stable way of running it, because I've had these cables conk out on me live, Um, but that's another option if you're looking to just get up and running quickly, so yeah, 9. Tools: Mixer: Hey, guys, The one last thing that that's important to getting your your backing tracks rig up and running, um, is a mixer. So, um, this isn't absolutely necessary, but, um, it has some pretty huge benefits to using one of these. So, um so, like, I like, I've sort of explained before with the audio interface. You know, you plug an audio interface via USB into your laptop, and then you run your tracks out of, um, the lion notes, you know, yet some balanced TRS cables and run them into some D eyes on stage. Um, so you can just run it that way, and then if you're using, um, some any years you can have the sound guy send you, um, click and tracks two year to your monitors, your in ear monitors, and you can do it that way. That could be a bit scary if you're using. If you're working with a sound guy, that's just ah, that you haven't used before or he's not touring with you. So, um, you don't know if you can totally trust that you'll have enough click. It's important to get a mixer so that you can control the volume. A click track you have as a drummer. I've had a thana shows where we've gone out and sound checked and I'll be running like a wireless in your pack. And the monitor guy will send me, um, click, and it will be good. And then by the time we get up and play on stage, I can't hear is much click and either something's changed. Um, and it gets a little scary, cause if you're on stage and you can't hear the click as a drummer, then you can start to go off and, um, and then that can turn into a train wreck. So it's really important as a drummer or whoever's leading the band along with the tracks to be able to be right on there and hear enough. Ah, click. So I run a separate mixer for that, Um, so I'll explain why So, um, I don't know. It's gonna pop up here, so we're gonna go analog mixers. Here's a handful of pop up. It doesn't need to be anything fancy. I actually, for a long time I used this mixer right here. It's tiny, it's cheap, but it's held up really well for me again. A lot of people don't like barren. Sure, but in a pinch, I found their stuff has always, um, done really well for me. And, um yeah, so I think the odd time you might get one, that's ah, doesn't work as well, but nine times attend these things, will. Ah, they work. Great. So anyways, um, so I've actually used this unit. Let's let's take a quick look at So how I would run this, um is I would take from the soundboard instead of them running into a monitor on stage like a wedge. I would get the guy to the sound guy to run. Um, whatever cable he'd be running into the wedge into my first channel here. So, um, I'd probably pop into, you know, it's best you can just pop the XLR line right in here. Um, but it's probably best to get one of the court XLR 2/4 and adapters to pop in here. Um, just so you're popping in line level, so it doesn't distort either way in a pinch, you can just drop the monitor cable in here, and then you can control your gain and your volume and that's that's that controls what the sound guy is sending to you. Then what I would do is, um, have the habit of my audio interface. I would be right. I would run, say, click and say We're just running. For example Click and track. So two lines out of my interface, direct at one and two that run both those into a D I or into two separate GI's Rather. And then there's every day I has a through, which is sort of like a split off that d I. And that's where I would run the tracks into here or start clicking to here and then tracks into here. Or I could do them both laughed. It doesn't really matter. And then I have control independent control of my click track volume and my track volume here. I and all three of those could be mixed together and sent to my in your headphones, which I would run out of here. So it's important to buy a headphone extension you can buy instead of just plug in your headphones straight into here. Ah, with with one of the quarter inch adapters, I would I would I always use a planet. Waves, like extension, like a 10 foot extension that runs out of there. So I'm never tight for slack. Um, yeah. And then you can mix your own monitors pretty much from here. Obviously, whatever's coming down, this channel is in control of the monitor guy, so Ah, he doesn't have to send you click or tracks. He can just worry about sending you whatever you want. Drums, vocals, guitar. And then you can actually in a pinch. If if for some reason you don't have enough click track, you can always boost it up right here. And that saved me about 1,000,000 times. So yeah, that's sort of the last thing you need to complete your track set up. Um, so you can use that that one. There's a handful of different mixers that's like one of the most affordable ones. Um, there's a ton of different ones here. You could get bigger ones. If you want a more elaborate set up, um, some of these you can get like rack male version. So say, if you've got ah, your interface was ah was rack mounted. You could buy one like this. That's also rack mounted. Um, So that's sort of a cool set up you can do to, um, All right, cool, guys, let's get started. Let's jump into able to live. 10. Importing, Syncing, Warping: Hey, what's up, guys? Welcome back in this lesson we're gonna import are backing tracks were to sink them up and we're gonna listen back to them. Um OK, so we're back to our able to session here. We have one audio channel opened up right now. We're gonna need more than that because I'm going to be importing a bunch of different backing tracks I got. I think I got bass drums, guitar backup vocals, some effects and stuff like that. So, uh, so we can make some more audio channels up here like that, Or obviously, we got command t right here. So if I said command T I can make I don't know exactly how many and some is gonna make eight or nine once were imported. Weaken. Delete them after. So I'm gonna head over to our finder. I love how they call it that. Like, Come on, Mac. So smart. I need to go find things, so let's just call it a finder. Um, okay. I don't know. I speak out loud sometimes. Okay. So I have the track. I'm using its track called Human by an artist called Manifest who I played drums for um So I have a broken down into a few different folders here. Essentially, we're gonna be setting up different multi track. So I have every instrument individual here, Um, and where it's gonna drag those in one by 11 per channel, just like this. Gonna take a minute to think and load. Um, and then and then yet in this folder, it actually makes, like, an able tune live file for each, um, for each file that we we import. So, um yeah, let's just go through. We don't necessarily need a line them up all perfectly yet. Um, I'll tell you why in a minute there's a few things we're gonna have to change, so OK, so there's the click dropping drums. We also don't need to put it right at bar one quite yet. Um, we'll get there in a sec, so we get we can manually move these around, sync them up after the fact, so itar also, we can organize them too. So I'm not necessarily putting these in in the order that I would normally have. Um, you see that when I didn't put out the exact same bar, saw this move, It over. And then the very last file I have here is just like all of the tracks summed together. So that's sort of like a backup if we need it. So if I play our files from where I dragged them all in, it looks like they're all sync up. Um, problem is, I'm gonna play these, and it's gonna sound awful and so bad. Um, I'll tell you what, but here, take a listen. Okay, Sounds terrible. And that's because every time we import an audio file into able to live, it warps it to the master tempo right up here. So right now, that is set toe 1 20 beats per minute. And this song human was not recorded at 120 beats per minute. So it's actually aliens pulling every single one of these files to try to see sync up at 120 beats per minute. And that's our problem. So what we're gonna do, I'm going to select their very first file here, and we get our our, um, our track function view down here where we can change a bunch of cool things. But all of these yellow markers here are wort markers that are trying to stretch or pull this song toe work at 120. We don't want that. We like we go out and we play this song at the exact speed that it was recorded on on the record. So that's what we want in here. So, um, I'm just gonna turn off the warp there, right here. So I'm gonna go through in this turn off warp, fall these files and you see, as I'm doing that each file is jumping. Is the actual files air moving because they're there going back to their original speed. So now that I got all that done, um, they should all they should all line up and play perfectly. One other thing sometimes. What a Bolton does, is it? It likes to guess where the beginning, where the first note of your song is. This is why we didn't drop them all at borrow one. I'm gonna go through, and we have a small handle here at the beginning and ending of every region or clip. We have this little handle where we can either trim it or or pull it it to its full length . So right now, I'm gonna turn off snap to grid so I can make sure that all of these air starting at the exact see right there, um thought the region started a little earlier. So it sync it up and cut off the beginning, and I don't want to do that. So I'm going to extend all of these. So we're hearing them from the very first? No. Um, now I'm gonna snap the grid back on, and I'm gonna drag every single one of these. Right to borrow. One doesn't need to be borrowing. We could start a par five. It doesn't totally matter, because we're gonna We're gonna set up. Ah ah, hot key. That will trigger the song from whatever measure its at so. But anyways, we'll get into that later. We're gonna put all these right on bar one. Now, when I play this, everything should sound perfectly in sync. So I'm gonna go to bar Zero, Actually, our at bar zero right now, So I'm just gonna hit space bar when I take a listen. Fast forward a little bit into, like, a chorus or something. Killers. Everything sounds perfectly in time with each other everything sounds tight. Um, awesome. So, uh, something we want to do is just organize these in a way that makes the most sense to us. So right now we want to label each channel. So right now, Audio one is where the base is. That so we don't necessarily want to be called audio one. So I'm gonna command are and just go through and name all of these. The That's gonna be super boring for you guys. The rooms lead box, and yet we might not need these at all. They're nice toe have in here just because you can check if everything is in sync. And if you ever wanted, like, add an extra course or something like that, then it would be easy to do that having the vocals in here just for editing purposes. Oh, and I didn't label this very last one. Um, listening. That's one, like, full tracks. And then this Audio nine. We don't really need someone. Highlights his lead, and then Mr order them. I always like to put click at the top. Um, that's just me. You can put these in whatever order you like, but this is the order that I usually roll in. So I always have drums at the top. Drums, bass guitar, lead vocals, backup vocals in any sort of effects. And then we have our full tracks. The bottom. Um, I'm gonna turn those often the deactivate them. We don't need them. And I can even hit the era here. Just close them on that to sort of minimizes that that channel. So OK, guys, So we have all of her files in here. They all play their all in time together, and they sound great. Okay, cool. 11. Audio Preferences: Hey, what's up, guys? Hope you're well. We wanted to go over some audio preferences in able to live, because when you boot this up and try to play back something, there's a chance that you won't hear anything. So we should go over that. So if we had up to our top left, we have able to live open. We head up to the top here and open up our preferences we have. This is what pops up able to does a great job of being really intuitive, so there's not necessarily they don't have a ton of preferences in here compared to other programs. Like if you open up pro tools, there's probably hundreds of other changes you can make, but able to adjust, you know, tries to be a simple as possible and yeah, so anyway, so we open up our audio preference, click on audio over here. This gives us our audio preferences. What we want to know what some of the important ones to get up and running is our audio input and audio output device. So if I click here sometimes it'll default to no device. If it doesn't see any, you can choose your built in microphone. Or if you have, like, the iPhone headphones with a microphone that that will be set that, um I'm running an interface right now. That's the microphone I'm talking into is coming from the F C a 6 10 So I'm gonna keep that selected. And our audio output device is set to my interface. Also, Um, if I want to just listen in my laptop, whatever, I could just select the built in it put here. Um, so totally depends on your situation. We're gonna go over audio preference s area audio interfaces, Maurin detail in a later lesson. Um, so our input and output configures also important. Ah, a lot of the times when you open this up only if you were highlighted, and that means I only have access to the first and second inputs. So if you need more than that, select more than that. Um, a lot of times you can select all of them, but that just takes a little bit more CPU. So if you don't necessarily need them, so if you're not gonna use them, you might as well not have them selected. Same thing with our audio story are our output convict configuration Right now, A lot of times I'll run up to six. It puts for different tracks that I'm sending out to give the, ah, the front of house guy control over each individual element. So sometimes I'll be running six channels. So that's why I have six selected. Another important thing to consider is our buffer size. So I'm running a fairly low buffer size. Essentially, this is the time it takes for your computer. This is the amount of time it has to think about what it has to do. So when I hit space Bar and hit play, the computer has 64 samples worth of delay. In order to think about all of this stuff, it has to think about, um and that adds up to be a 3.6 millisecond delay. Um, if you find you're having a little bit of leg or your your able to in session is crashing or glitch ing, you definitely want to increase this to 2 56 5 12 You go as high as you need, depending on how many channels you're running. If you're running lots of audio effects, you're gonna need toe have higher buffer size because you're giving your computer mawr and Mawr to think about, um so I usually don't run anything to too intense, so I like to keep it as short as possible, But I also want to make sure it's reliable. Um, also, another important thing to consider is making sure you're not running a bunch of other programs when you're running able to live, able to live is insanely reliable. I've never had a crash on stage due to it. Like due to the fault of able to live, Um, I can think of ones that crashed because my laptop fell off stage, but obviously that wasn't able to his fault. And I think one other time. But it was because I was running like a ton of other programs. I was running Google Chrome. I probably had pro tools open in the background. That was probably like streaming Netflix or something, and I decided, Oh, OK, I'll just open up, able to hit and run a show off of it. And obviously that's a dumb mistake and should have done that. So any time you're running this, especially during a live concert, make sure to close all other programs. So your computer is not being bogged down because as soon as you start bargaining town, there's a chance able to will crash. So as reliable as it is, you still got to take those extra precautions. So anyway, so those of the audio preferences, Um, there's different audio preference, different preferences based on how you want it to look and feel. Hear any record settings You can do all that here. Um, yeah, back to the back to the CPU thing up here in the top. Right. This will tell you how much of your CPU that able to is currently using. So right now, it's only using 3% of my overall computer, so that's pretty good. It usually doesn't get up that high where it becomes a threat. Um, so shouldn't be. Shouldn't have to be something you have to worry about. So anyways, yet get your audio preferences set up and ah, start running some audio. All right, See you next lesson. But 12. Master Tempo Automation: Hey, what's up, guys? In this lesson, we're gonna be going over our master tempo automation and why it's important to automate our master tempo. So when I talk about master Tempo, I'm talking about the number up here in the top left. This is what is guiding all of our tracks. That's what the ruler is based on. And so we want to set up our song so that one bar of our backing tracks is the equivalent of one bar enable to life. So right now it defaults toe 1 20 if we zoom in here on our click track, our clique doesn't line up with it. It's actually funny. It's sort of lines up because technically, the tempo of the song we're using is 1 60 So because 1 20 is 3/4 of that, it actually lines up on every third beat. But essentially what we would want it to look like if I click and drag this upto 1 60 Uh, well, there we go. That's how we wanted to line up where there's one click for every single quarter note for per bar. Uhm, senators, we're gonna go back to 1 20 You could just manually input and hit enter to that works too. Or click and drag. So in order to find the tempo for our song if you don't know what the temple is, we have a tap temple appear. If you just start clicking along, it'll tap along to the song and it'll give you the number. It'll change this number based on how fast you're tapping. Um, I'm not a big fan of this tap tempo specifically because it doesn't give you an average. So something I really like to use. I'm gonna head over to my web browser here and show you my favorite Metrodome. Where is it? Here. Um, best Metrodome dot com. If you just Google best Metro. This is what pops up. We have a tap tempo function here. We click on that. If I start hitting space bar, it gives me my last speed. It gives me an average of five, and if I keep going, it gives me an average of 20. So if I put this track was gonna hit play and I'm gonna tap along and find the tempo right here we see it jumping all the way around. But once I lock into a good speed. You can see it's staying right at 1 60 Pretty much so. That gives you a good average to know. No, that that's the temple rather than 1 61 1 62 Um, so And then just to test it, now that I think it's 1 60 I'm gonna, um I'm gonna play the song. Back on the set are Metrodome toe 1 60 Select 1 60 here. Hit Start right on one of the beats and make sure lines up. Yeah, so Okay, so now that we know are tempo is 1 60 We're going to automate our master temple here. So it changes from song a song. What we could do. Um, some people are you probably You're probably saying, why don't you just grab this and turn it to 1 60 then just leave it at that problem being the next song we put in to our able able to in session. Um, here, let me fix that. Um, Zuma. So once we get this song all set out, what we're gonna want to do is put a nether song back here and start another song. So, like this are second song in the Said Our third song in the set. And so if that song is not 1 60 then we have a problem because the temple of our backing tracks are gonna change But it's not gonna change up here. So in order to fix that, we need to automate this so it changes from song to song. So if we open up our master, our master tracked down here, um, it defaults this automation lane here, this red line defaults to our song tempo. So right, So if I grab this and I start dragging us up and down you can see this red line going up and down Essentially, that's just showing you the tempo of the song. So in orderto automated what we got to do I'm gonna zoom in your the beginning here and I'm just gonna drop weaken draw points in. So if I go along this red line, I can draw points in and do this if I want to, um, problem being I can't really get exactly on 1 60 get 1 60.6 But that doesn't help because eventually my tracks gonna drift off. So in order to get 1 60? Exactly. I was gonna undo a few of those lines. I'm gonna drop in one point. And what that does is if you go to the top of your see this red dot that means our tempo is now reading the automation we've done. If I eliminate that last dot and undo it, we lose our red dot appeared as soon as I put one in. Now we know that our automation, our song tempo, is looking for automation. So what we're gonna do is go to the very first bar and we're gonna record automation into it. So if you not clicked on the first bar, what you could just do is hit the to stop button twice and automatically takes you to borrow one, beat one. So we're gonna go here. We're gonna go appeared type in 1 60 hit, enter, and now we are going to hit record or it's gonna let this record for a few bars. We don't need to go through the whole song. You can just let this run all the way through the whole song. But that's gonna take three or four minutes. I don't really want to do that So we've just recorded. So now we have a change here. So if we fight playback from here, for instance and you can see appear says 1 60 as soon as it gets here, it's gonna drop back down to what our original temple was. And that just means the lines this ruler, that in the backgrounds where our bar lines are is changing from 1 60 to 1 20 So we want the whole song to be 1 60 So now we've done the very beginning of the song. We're going to do the very end of the song. Don't worry. This is all gonna make sense in a minute here we can even go a bit further past if we want to, Just in case we decide we want extend the song little bit. Might as well go a little bit past. I just select right here. Um, it's gonna make a selection here, and I'm gonna go back up here. So it's giving me 1 20 again Here. I'm gonna input 1 60 again. Hit, enter and hit record again. And as we can see, it's recording up at 1 60 here. So we're just gonna record a small segment just like that. And then we're gonna delete these points in here. So there's two different ways we can do that. We can is double click on them or we can option click if we hold option and click it deletes it. So then we're going to scroll all the way back to the front. We're gonna delete these couple. And now what we have if we zoom out is we have automation. A perfectly straight line. It's 1 60 all the way across the song, actually, for some reason Oh, um, okay, I didn't capture the last the very end of the song. So what we're gonna do is we're gonna zoom back out here. I'm gonna go to the very end already dropped back down the 1 60 I'm gonna put 1 16 Hey, look at that. I'm getting text messages from Batman. What's up? That's my older brother. Um, that was a hilarious practical joke from years ago. Anyways, you guys aren't paying me to talk about Batman. Are you okay? Back to able to put in 1 60 again, kid. Enter record. It's gonna get a small segment here. Gonna go delete these. And now our entire track is that 1 60 So if I zoom in on the very first bar, we're going to see our click track lines up perfectly. 123412 Okay, And let's just make sure we got that the same all the way through. Something is keep scrolling. Keep scrolling. That's where our drums coming. We could see the drums or right on. Beat their everything lines up with the grid. Shouldn't go off at any point if there is, that means we've done the automation wrong. Um, everything's looking good here, so let's just go make sure the very last very end of the songs on Perfect. Okay, so that's how we automate our master tempo. And now everything about this track is in time What we want to do next time, once we drop another track in which we can do this in a further lesson to I'm gonna do this again, um is we're gonna drop another track in and then adjust this type in the new tempo and make an adjustment. So goes from 1 60 to say the next song is 1 12 and then so we're gonna punch in 1 12 here and record the beginning and end. Delete the points and have all of the second song on the grid. Cool. Thanks, guys. 13. Adding Locators: Hey, ladies and fellas, Um, now that we have our master tempo and everything worked out for this song, we're gonna go through and drop in some locators. So we know which part of the song is What? Um, so this is really handy for a couple different reasons. For one, it keeps everything really well organized. When we're practicing, we can say, OK, this one of practice from the second chorus, and then we can drop in there. Um, and for two, we want to be able to trigger the very beginning of the song easily. And so, um, we're gonna be able to set that up. So the very beginning trigger we can assign toe a quickie is that we hit Say, number one, for example, on her keyboard, and it starts playing the very beginning of the song. Super cool. OK, so we're going to the very beginning of the song. We're gonna hit our stop sign here or whatever are stop button back to borrow one. If we got to create, we have add locators. We're gonna drop this in other programs, call these markers able to calls it locator. It's a sense of the same thing. Let's just call the very beginning one human, because that's the name of the song. So if I click on this little flag here, it's gonna keep us. Well, hey, so if I select over here and I click on this flag, it takes us right to the beginning place right from here. So right now we have a two bar countin we're gonna go over the building, these cues a little later. This one just came with the track. Um, I'm gonna put a few in for other parts of the song, um, later. Um, but we're gonna go through and is Mark every single part of the song. So we have we We can quickly access any point if we need them. So after the 1st 2 bars, we have our intro. So right here at bar three, I'm going to select, and it's nice to have snap to grid turned on here because if I don't and I sail, Cam is gonna go select bar three. I'm just gonna put a market here, and then it's just gonna put a little bit before or after, and that could be annoying. So this put on snap to Grid Select Bar three create intro. It was Listen through. The whole song will just drop markers in every point where there's a new section that starts want 234 Okay, right here is where the verse starts. So also, when learning new songs or whatever else I find, this is such a handy way just going through and listing. Okay, there's an eight bar verse, a bar, Pretty course going through and doing this right here helps so much in just getting more familiar with songs like Building a Road map. So because I'm familiar with song, I know that the Pre course starts a bit for this. We don't need to listen to this whole thing. Okay, So sorry, This is the second half of the first verse, so it's gonna let this roll this where the course starts. There's not really a pre course. You could call that last line of the verse of pre course, but I'm just gonna call that all the verse course starts here. So ch one I like to keep them short so they don't all get jumbled. And at the very end of this course, there's like a tag section right here. So right here, we're gonna drop in a bar. 43 call this tag one second verse. Still the verse. A lot of times you can see exactly where things kick in, obviously, right here is where the course starts. So I'm just gonna go ahead and go ch two coming up on the tag again. Uh, well, tag to up here. We have our bridge. Sometimes when there's an important cue like that where, um, an important point where everything does drop. So it's a really important that every the whole band ends at the same time. And obviously having the band rehearsed and knowing all the punch is important. But sometimes you gotta sub in and have a new drummer filling for a show. And he doesn't know every single tiny detail the song. So, um, what I like to do is sometimes put markers in at the at the ins and outs of big sections. And then what all later do is dropping a cue that counts in that section, just in case the new guy doesn't know 100% what's going on or he's thrown off because he has a bad monitor mix or something. So worst case scenario it, you know, keeps the band on track. So right here, I'd put just like, uh, ID label that either is out or ring out or quiet. Let's go quiet. That goes into, like, ah, sort of a verse section again, But it's more of a background part. So let's just name this it sort of as an intra vibe. So just call this the re intro. And then, obviously, right. Here's where the chorus kicks back into is our third chorus, and then our tag tag. Three. This is an extended one, so it goes twice. So what I do to go to the halfway point in light? LaBella's tag four. Want 234 Some people might call this an outro, but And on that very last beat, I'm gonna put ah marker saying there's my Canadian accent coming out. My Canadian accent coming out. There you go. Um, yeah. Okay. So all right. Now what we've done is we have locators survives. You met. We have locators all the way through this song. We can see you. It's like a road map of the entire 10. And we wouldn't have been able to do this if we didn't label if we didn't have our master tempo set toe 1 60 because the top of every bar line lines up with Ah yeah, with the ruler, which is really cool. So now if we want to say OK, let's just listen to let's just listen. That second course I can click on this flag here and hit play and super convenient. So and then, in a further in a later lesson, I'm gonna show you how we can select the very 1st 1 here, and we can assign that to a quickie. So when we hit number one on our on our keyboard or number 500 keyboard that accused the beginning of that song, we can also map it toe to an external Midi keyboard. If we have like a midi keyboards set up, we could say, Take the first octave and lay it out so that you hit the very first key, and that's the title of this track 14. Creating Key Commands: let's go over setting up some key commands and some key map ing's. So the way I set up tracks is when the beginning of ah set starts. I have written out on the side here on ah, usually on a note pad. Here, let me pull it up. Um, blub above about. Here we go. This is probably a good one to start with. All, actually, put this off to the side, put this over top of it and shrink this and I'll sit there sometimes. It's nice if I have two different laptops, um, or an iPad or something. I could write out all of this on a set list or having an iPad or something. Like sometimes I just have them both running on the same. So I'll have my my Mableton live selected and I can see. And then these numbers correspond to the numbers on my keyboard that trigger the beginning of every single song. So I don't have any of them written into this session right now. But just for example, I'll show you how to set that up. Uhm, senators, if we hit command K, everything flashes orange and pretty much what that means is everything that's an orange can be controlled by a button on my keyboard. So also, you can you can get to that by hitting the key button up here. So we're gonna zoom in on the very beginning of the song, We're gonna click on this little orange spot, this flag and were to hit number one on the keyboard. So now we see a one pops up there Key one is assigned to a locator and the name of the locators human. So now I'm gonna close this key map. I'm gonna go. I'm gonna select over here and play. Okay, So it's playing all the way over here. As soon as I hit number one, it's going Take expect, Like, right to the very beginning The song If I hit play he goes straight from the very beginning of the song uh, super handy so you can go through. And once you have, say, 10 different songs imported, you can you can assign a song to a a number or you could do it alphabetically. You know, some people would do h for human totally up to you guys, but that's how I set out my key commands so that I can just trigger them with quickies, something we could get into. More also is the MIDI function, the mini mapping functions. So if I click on this, everything highlights blue and what I could do if I had a MIDI keyboard plugged in right now, I could select the very beginning of this song in a sign it. And once I click on this, I could say, for example, hit a button on my mini keyboard and that button would trigger this. So that's really cool, too. I've seen bands that run off of Like they'll use one of those small midi keyboards, like the one or two active Midi keyboards, and then they'll take some tape and then on, say, each one of the actual piano notes. They'll write the name of the song and they all queue. So the very 1st 1 C one would be the very first track. The next would be the second track and so on and so forth. That's a cool way to do it, too. Um, whatever works for you. All right, Cool guys. 15. Recording Cues: What's up? Family and friends. So today we're gonna go over cues and I'm not talking pool. I'm not talking Dillard's, although that's a lot of fun, too. We're talking about Q and yourself in and giving yourself a reminder of what parts come and next. So hopefully you don't have to do much of this because if you're working with musicians that you're the same guys over and over, you not necessarily need to get need. You're not gonna have to set these up. But I get hired out at least once or twice a month playing for a band that I haven't played for before. And they say, Hey, can you learn these 15 songs? Um, by Friday, you know, in three days. And I'm like, Yeah, sure, I can totally do that And obviously, three days is not enough time to totally internalize a bunch of songs. It can be if you don't do anything else and you just sit there and listen to him for three days straight. But sometimes I'm not not able to do that, So putting in queues is really important. If you have a feeling, you know you play in a band and you get you have to get a filling bass player, cause your bass player, you know, crashed his long board and he broke his wrist. So you need a new basis. So you hire a friend, but he doesn't really know the songs. Here's a way where you can get him to have queues. Uh, so he knows what parts coming next. And this is really handy, because yeah, it sort of saves, you know, saves a lot of potential trouble. So anyways, um, here's what we're gonna dio Let's open up a new track and we're just gonna be titled Cues. So let's turn on our in and out first cause we're gonna want to do somewhere, actually do some recording. So we haven't covered any of the recording stuff in able to live yet, So this will be a first. Let's make a new track command T. Um, let's name this queues. That's not cues. Queues. There we go. Yeah, I know how to spell. Totally cool. All right, so you can see that my microphone is plugged in to number one on Miles Goto our audio preferences double check here, My FC a 6 10 which is my audio interface. So this Mike is plugged into number one and that's why it's popping up here. Um, that's why it's showing up on every single channel. So obviously is not gonna record every single channel. What we have to do is record arm the channel we want to record. So we're gonna record right onto queues here. You can see we're getting level here and Okay, so the very beginning of the song already has a Q built right into the click track. Sometimes, you know, your producer might send send Ah, you files like that already? Um, yeah. So, normally, I would just have a plain click on one channel and then all of the cues on another channel . But in this situation, we already have the 1st 1 and that's just essential. When I'm talking about queues, I'm just talking about of human voice that counts in the song. So if we listen here, I'm going solo the click and here's what we hear. So it's the voice San Juan 21234 or in in some cases, it might say Human. 121234 to count in what song it is because maybe you forgot what song it is. And then, you know, um, that shouldn't be a problem, but it's always nice to have the song title in there. So anyways, um, any of the important changes in a song it's usually good to have a have queues, and you don't necessarily need one for every single part, but it can be really handy. Um se the singer's jumping around for the intro when he loses track and doesn't know exactly when the coming for the verse. Like I said, this shouldn't happen, but it's cool to be foolproof and minimize on some of these issues of possible. So what I'm gonna do is I'm gonna play back from about here and one measure before I'm gonna give accounting for the verse. So what I'm gonna say is verse 234 and so yet we're record armed on this track. I hit record here, and obviously I'm talking right now. It's picking up this mike right here. So next time I hit play, I'm not going to talk it all. So here we go. I'd also recommend doing this popping in a set of headphones and doing this because right now the way I'm doing it is my laptop is sending out audio, and it's getting into this microphone. Not a big deal, because it's not like anyone else's hearing these cues, just just us musicians. But if you pop on a pair of headphones and talking and talking and record them into a mike , you definitely be better off. So here we go. Verse 234 All right, there we go. So just listen back to that. Make sure you say the numbers in time because if you same way at a time, that's just gonna be distracting. Um, it's funny. It sounds like common sense. But I've had people send me stuff and then just ah, you know, the counting is just way at a time, and it throws you off as a drummer so you can trim these up a little bit, too, if you want to. Um, this is this is automatically assigned to be warped. Weaken. Turn that off in the audio preferences doesn't really matter, like as long as it sounds like it's in time, and it doesn't throw us off when we hear it. So that's cool. Yeah, so Yeah, we got one. There are gonna go through, Do some more. Ok, Okay. I need a little bit more pre roll for that chorus. 234 All right, there. Chorus 234 not gonna do one for the tag for this. You know, if you really want to be thorough, you could do that. I'm not pulling for the virtual skipped past some of these chorus. I definitely find it's really important to do some of the big moments. If there's a big cut, you know, where it builds up in the whole bank cut. So when the singer hits a big note or something, that's maybe an important part to put a que If you got a new guy in the band, it doesn't know what's going on. So So this is sort of one of the situation. That's not absolutely imperative, but it's, ah, sort of important section. So he really So you could say anything here. Whatever works. Quiet. 234 Or ring out to three or whatever you want. Um, yeah. Quiet. 234 And then So yeah, quite 234 right there. And they're gonna do course again. core s 234 And then, um, sometimes you get, like, a unique situation where you have to cut out on, like, an off beat or something. So the ending of this song, um, I think the whole band is supposed to cut on the and of two. So let is listen to confirm that one and two and one and two. And so in this situation, I might set it up a few bars early and just introduced. Um, here, I'll show you. How did it cut on the end of two? One and two. And let's listen back to that. So here we're hearing a lot of everything else. I'm sorry. I just turn up the queues just crank up so you can hear them a little better. Oh, so yeah. There you go. There's some cues that will help you, fool proof your set, just in case you have ah, fill a musician or, um, sometimes it's just good to have Ah, you know, a little reminder here and there. So just so nobody forgets what's going on. So there you go, guys. Sweet. Keep rocking. 16. Time Signature Changes: Hey, what's up, guys? We should go over time signature changes. What do you got to do if your first song Here's and four for? But then the next song you have is in 34 None of your tracks line up with the grid. So you're locators. Don't line up, Let's go over time Signature changes. So say our next song, This is all in for four but our next song, it's gonna start right here. Let's put a locator and I haven't dropped a new song in yet. But let's say I've put in a song called Burgers Are Us and I'm actually gonna write a song called That That'd be awesome. That's gonna be in 34 So we're gonna drop her tracks in for a next song here, and it's in 34 So we want to go up here to create. We have our first bar selected here. That's important because that's where the time singing strange time signature chains is gonna start. We're gonna hit. Um, insert time signature change three dash for sorry. Three backslash for ford slash four. Sorry and hit. Enter. And so now we just changed our our ruler. So Now we have three beats per bar. So once we importer tracks that Aaron 34 they should line up perfectly. Once we have our master tempo selected another example, that would be important. Say, um, say the first little bit of burgers are us. There's an eight bar, um, is an eight bar verse. So 1234567 Hey. And that's sort of say the intro that once the verse kicks in, um, we're gonna drop a locator, and it's gonna be with verse starts it goes to 44 here. Now we're gonna want to do is we're gonna drop in another time Singing, Changing Hit 4/4 And now it goes back to four beats per bar. Um, and so that's how you do the time singer change in able to in live nine. Who 17. Modifying Length: guys, What's up? Um, so I just want to show you real quick how to extend or short in a certain section of the song. So what we have here is the album version of this song, which is great, but say Hey, maybe maybe this tag section right here, we want to extend that, so it's twice as long, So I'm gonna show you how to do that. So I'm gonna make sure my snap to grid function is on. I'm gonna grab those eight bars of that tag. And if I go to edit, we have a feature called Duplicate Time Shift Command D. So I hit shift command D that just do play duplicated our tax, which not twice the length. So now let's listen to it real quick. So I got a little weird there cause the vocals just cut off. So what I would do drop out of our snap to grid and I would just solo the vocals at real quick here and shift. Uh, sorry. Command solo on both shift in pro tools. But if I will command, I can solo two channels. Um, I'm just gonna drag this out. Teoh. It looks like that. Vocal lines start handed down the back. Okay, so that was way too far. I'm only human. So we wanna drop it prior, Uh, much Right there. Right. Something like that. And then let's drop at a so low here and then just hear that. Hear that transition? Cool. Okay, so that sounds great. All the other instruments lineup. Well, wanna keep listening? Just make sure transitions into this verse. Okay, cool. So there we go. We just extended our tag twice the length. So sometimes you want to do that. Maybe in a bridge or something that I'm gonna undo all of this, and I'm gonna show you how to do the exact opposite. So undo. Undo. Undo. Now we're back to our short eight bar tag. Now, we just want to get rid of half it. Now, instead of having a longer tag, we wanted to be shorter. So let's grab four bars. Uh, turn on my snap to grid. Gonna grab these four bars right here, and I'm gonna go up Hit delete time. Now it's Listen. Boom. There you go. Short a tag. Cool, guys. Hope you're well. See you 18. Color Coordinating: Hey, I just wanted to show you guys real quick how you can color coordinate all of your tracks every time you make a new able 10 clip or region. It gives it a different color. Hence why all of our accused are different colors, and it's cool. It looks cool. Looks like a Rambo, but it's not very well organized. What I like to do is organize all of my songs by color, so there's two different ways you can do it. Some people like doing the whole song as one color, and then the next song is a different color. Some people like doing all of their click track in blue and all of their bass guitar and red and all of their synth in purple. Whatever works for you, but show you how you can change them individually. So if I click on the click track here down here in our tracking folk, I can read title the region. If I want. I can also choose a new color for it and also do all of them. You can do them all a big batch. So if I select our top region, here are video and photo and then and holds shift and click down, and I'm gonna select all of our regions here. So now I have all of them selected. So if I go and click here, I can change all of them to the same color. So if I want the orange now, they're all orange. And, uh, yeah, it just keeps things a lot more organized. So that's that. Not suit, not super complicated. 19. Freezing Tracks: another quick little tip. If you're running into any sort of CPU issues where you're running, a lot of stuff on your computer is getting bogged down. Um, you can highlight your audio files, and so if we click on a bunch of these, we can actually right click and freeze them. So if we have any effects going on, or if we've made any changes to them, we can freeze them. So it takes a minute to do this, and then it doesn't allow us to control the volume or re pitch them or anything like that. But what it does do is it frees up a bunch of CPU, so it makes the whole system a little bit more reliable. So now when I click on this track, all of the stuff grade it so I can't change anything, Um, but it's taking our seats. It's taking our computer less effort to have to play through all these tracks. So it's just another step you can take to being even mawr reliable. So all right. Cheers, guys. 20. Collect All And Save: Hey, so I wanted to go over some important save and export functions. You're gonna need to know at some point. Um, so here, let's go to file. Save lives set. This is super important to save as often as possible here. I just made a change to our session. Save it. Don't lose any of your data because it sucks. Um, another important thing is, after every single show save as as a new project. So what I do a lot of time if we rehearsed the day before a show on name the file after that show. So hey, say we're playing Myrtle Beach tomorrow and we just rehearsed and we had to change a few things. We muted the base, we cut it. A bridge of A songs were like, Yeah, we don't do that section Um, because it's not the right crowd for it. Then we might just cut it out. And then in that sense, I would relabel it and, you know, what's the date? So they were playing Myrtle Beach tomorrow. We're not actually played Myrtle Beach like last week or something like that. Um, I just name it like that. And then Myrtle Beach, South Carolina. Boom. Now I know what we did and why I'm gonna save. As so now we have a new session that those changes are saved as, and we can always go back open recent set. We can always go back to our master file that we have right here. That's super cool. Um, another really important function that you need to know about is collect all and save. So if you go find your able 10 folder um, right here, you can't just click and drag that onto a different hard drive and put it on someone's computer. There's a chance that there's some files that are part of this able to in session that didn't make it into this folder. So if you click and drag this over, you might be losing missing files. And then what will happen is you open up your able to in session on it from computer, and I'll say, Hey, we're missing a bunch of files or we can't play these files and that's a big problem. So what you want to do is, if you ever want to move it before you move it, go to file, collect on save. And it's gonna tell Ask you what kind of files do you want to add to this? And, um, it's just safe to keep them all checked off is yes. And hit. OK, um and so you just see absolutely nothing happened. And that's because the odd time Able Tin Live nine doesn't work properly, so it works 99% of the time, But then other times, it doesn't so a work around, I found, um, so it didn't just collect on save it. Didn't do what it was supposed to. That's a problem. There is a work around that I found, um, what I'm gonna do is do a save live set as well. Let's go back and we'll name it Manifest Master set. And we're gonna save it just straight to the desktop. For now, um, we're gonna save it somewhere else, so it's not on the same folder. We're just gonna call it manifest Master set. Now we've saved as now when I go to collect on save it should work properly. So fingers crossed. Hit. Okay, there it is. It's copying files from the original place. It's gonna create a whole new folder so now if I go to my finder, So that's our old one. I'm gonna go to a desktop manifest master set project in here we have all of our samples we have are able to live file and all of the files that pertain to it. So this is really important. You got to make sure to do that before moving your file. You're able to in session anywhere. Cool, guys. Um, yeah, yeah. Have fun piece. 21. Exporting: Hey, So your buddy that's playing bass in your band doesn't have able to live, So he wants to be able to practice at home, But he can't because he doesn't have able to. And you have all the files set up. So what you want to do is you want to export just an audio file for him. So, um, here's what we're gonna do. We're gonna go down the export audio video. We don't want to export any video. Who cares? You know, for this sake, we did. We're not gonna export any video. Um, actually, cancel this. What we want to do is send everything back through the master again. So, in an earlier lesson, what we did is we assigned the outputs of all these channels two different output so that we could give our sound guy some control over which tracks air. You know, our different volumes in the mix. So now Okay. So everything set to the master now, which is great. So everything's gonna be going it left or right. If you don't want to send them the cues, you can turn them off. If you don't want to sit in the quick turn them off. But just for this sick, we're gonna keep it all in there. So we have something good to practice too. What we want to do is make a selection. So we want to grab, grab it Doesn't matter. On what channel? Just we want to make a timeline selection from the beginning to the very end of the song. So now we're gonna go export audio video video where it's gonna render from the master because everything is going through the master now. Our master got turned down a bunch. For some reason, I was gonna cancel this for a quick bring it back up to zero. Sorry. Apparently I'm a hack at this. I'm just learning to, um we want to start it there. It's gonna end at 1 44 which is right there. That's that's the selection we've made. It's always good, Teoh. Um, I I would stick Teoh creating wave files because I'm familiar with them. 44 1 16 bit is great. Um, all of this looks like ah, all the default settings usually should be fine. Um, could uploaded to Soundcloud. Don't really want to. We're not going to export the video at all, and I was gonna hit export, and it's gonna ask us where we want to save it. So hey, a basis. But I'm going to say you human tracks for cracked IHS or just human tracks, whatever. Um, safe. And it's just gonna export it really quickly. And then we could just upload that and send it to our pal, um, or weaken building iPhones list in this practice along with them. That way, if we want to also and should be almost done here, did that. Did you get that? Yeah. Cool. All right, So you guys 22. Adding Photo & Video Content: What's Ah. Welcome from Canada. Okay, so in this lesson, we're gonna go over integrating some photo content into your able to live sessions. So sometimes you play a show and they have video screens set up, and you can actually import photo and video content right into able to live and go at a year. Depending on what kind of laptop you're running. Go out of your H D M I or your V g a or your thunderbolt and send right out to the video line and have either your logo up on the screen or any sort of video that sink with your with your songs So you can put up music videos. You could put a lyric videos. You could put up whatever you want. So here, let's Let's go over. How did us? We're gonna make a new track, um, command t to put it right at the top just for the sake of it. So in this one, we're gonna go over some photo contest. I was gonna name this. Let's go on media. There we go. All right. So, um, just like we dragged and dropped our audio files in here. We're gonna do the exact same thing with our photo contest. I open this up. Um, party train. Okay. Desktop, human tracks, pic slash vid. Okay, so for this song, we're going to start the intro off with Ah, logo. So here, I'm just click and drag this right in here and let's zoom in. Okay, So there's our there's our video window, So if you want to view this, you just go to your video, go to your view up here and video window so that just close it opens and closes, and that so was put in the corner just to make sure it's all sync up on working properly. We'll put that up there when I zoom in. Tiny file. So there it is. There it is. Um, let's just put it right at the very beginning of the song. Uh, I'm doing this the long way on. You guys are sitting here watching me. Just struggle. And you're like, Come on, Mark. Just you could do it. I believe in you. Okay, So here's a situation where we want to keep our warp on because we we might want a loop this. So if we turn off warp then we can't really do anything with it. I think we can duplicate it. Yes, we can do that, actually. Let's check that out. So here, let it stop your quick. Yeah, so we can duplicate it like that if we want Teoh. But if we leave the war bond, we can actually click and drag automatically. There's a loop it for as long as we want. So this song is a music video for so we're not gonna have this logo up for long. But what we're gonna do is for the countin So say the last song ends Boom. And at the very end of the last time, we put up the manifest logo looks cool. And then I triggered this song and the manifest logo stays up. Um, for the count in as soon as the first beat of the song starts, we're going to start some video content here. So anyways, not to get ahead of ourselves. Let's go back to the very big in a song. So Okay, Singer gives this spiel about the song. Okay? The song is called Human Space Bar, and what we see right here is gonna be up on the big screen. And as soon as this downbeat kicks in, we're gonna have some other content. So let's go grab our video. We're gonna grab this, we're gonna drop it in. We don't want this to be warps because this we want to be along perfectly with the backing tracks. So let's close this screen for a seconds. In my way. Um, technically, this song has audio along with it, so we want to turn the audio us. We want de activated. So the video still gonna play? Um, yeah. So let's assume it actually looks like, um, the the The video is just a little delayed, Probably cause there's a little clip or a little delay on the video. There is. You can see when I hit play doesn't kick in right away. So which might not be a problem, but let's just trim it up. Let's pull this right in here and just take a watch and make sure it lines up the way we wanted to. So gonna go hit one again. Quickie. Want 234 So video starts. Here we go. We won't really be able to tell if it's in sync until we see his lips start moving. But we just want to make sure there's lines up with the waiters on the tracks. Rad. Okay, so they're so essentially, we can put this right up on the big screen, and we can have sick looking. Whether it's a music video, a lyric video could just be some background effects. You know, maybe you got a song about being by the ocean. So you got, you know, some cool clips of the ocean could be anything. Um, there you go. So the only last thing we got to do is we got a clip. We got to drag this depending on our system preferences. Normally, how it set up is when you plug in to the video output of your of your laptop. Um, it's gonna mirror a screen off to the side here. So in a situation like that, you want to click and drag this all the way to the far right, And then once it's over there, you want to double click it so it goes full screen, and then Bob's your uncle, and it's amazing, and you're officially a rock star. Yeah. Yeah. All right. There you go, guys. Sinking photo and video with your backing tracks. Piece 23. Routing Outputs: Hey, so in this lesson, let's go over. Roading are outputs. So right now we have all of our tracks are all going out to the master, which isn't gonna work because everything's going down the center. And if we just send the audio guy one channel, then we can't really do very much with that, cause he's gonna have click in there. He's gonna have everything else in there. So, um, there's a few different ways we can do this. So what a lot of people do is they'll send they'll pan click track in the cues that we have clicking cues right here. And ah, lot of people with his pan them all the way to the left like that and then pan everything else to the right. So when I send the audio guy the sound guy two channels I can give him here this sex. Yeah. So when I send them to channels, he gets the click on one side, and then he gets all of the tracks on the other side so he can obviously send just the click to the musicians and then just the tracks to the to the house, you know, to the mains. Um, so this is what you do? This is what I would do in a situation where I don't know, the sound guy. And I don't know whether I can trust sending him individual channels. Um, because some sound guys don't know what to do when you send them a bunch of tracks. So if we just give him one track line and we do a good job of mixing it ourselves, um then we just sort of let them control it the way they want. If you're in a band that goes out in tours with a sound guy or you're familiar with the sound guy and they know your music, what you can do is go here. Um, so let's do this for a second. So we right here, we can control our output. So the interface I'm running has eight different outputs. So if we're gonna audio here, we're going to check out put configuration. Right now, our April configuration is set to built in output. So I want to go. Here we go. OK, so I have 10. I was I'm going to use all 10 hours because I only have 8/4 inch outs. So say we turn the zone and we activate them. So now we have eight separate outputs so we can technically send if we have a sound guy that we know and trust, we could send him each channel individually so we could send on the click track. So I'm gonna go external out and said, Our output, his external, it and it gives me a list of all the different so I can send him a stereo. Or here's what the longest click as number one. I'm also going to send the queues down Number one. Is those sort of go hand in hand? Sometimes the only time I would ever send the queues out separately is if the maybe the drummer wants all of the cues. But the singer doesn't want all of the cues on. What you could do at that point is you could send the queues out to number two and then they could get mixed separately. They those could get sent to the drummer and Onley the drummer. If he's the only one that needs them, Um then say OK, we're gonna we're gonna roll with with drums were going to go to for drums in this situation, like with playing with Manifest. I would not. We wouldn't use these drums anyway, so I would just turn them off. But for today's example, we'll keep him in there, so we'll send them drums. I guess we're pretty much setting it up as if he wasn't playing with a band. Ah, base external out and then we'll send 23 Essentially, we go all the way down, and at that point everything will be sent separately and that out of my interface, I would plug in six or seven or eight different cables from them into different D eyes. And then at the front of House board, they have separate control over the guitar, the bass, the drums and, um so that's a really cool way to set it up. Because some songs and might need a little bit more guitar, a little bit less guitar. It totally depends on how the band's playing and and the song. So sometimes you know, you might send them just the tambourines separately, and one song might not need any, and then the next song might need a lot to give some energy, so giving them separate tracks is really cool. But if it's a sound guy, you don't know you might wanna be. Where, by sending him a bunch of tracks, could Sometimes they might not know what they're doing with them. So anyways, that's how I would write my outputs for a session like this. There you go. Have fun, guys. 24. What A Full Ableton Session Looks Like: Hey, what's up, guys? I just wanted to show you a lay o of an entire able to concession for an entire live set for an artist I play with. It's not the same artist as I used the other backing tracks for we're setting up that human track. But this is a This is a country artist I play for, and I wanted to show you what it looks like to have entire able to in session later. So in our previous lessons, um, our it's are able to in session's sort of look like this where we had one song, click track at the top, the backing tracks and then cues right here and then whatever other instruments, Um, this is a situation where some of the songs we have all the tracks just on one channel and then some of the other songs. Actually, if I If I scroll through here, actually we have a broken down into different instruments. It all depends. Sometimes your producer is going to give you all the all of the stems individually, and sometimes they'll just list export a mix for you, with the vocals muted or with whatever you ask of them. So it's always nicer to have them all split up like this. Because then you can sort of control the volume and change at night tonight if you need to . But both worked really well. Um, yeah. So this is how it's set up. So I have them color coordinated song for song. I have my markers all the way through. So the start of this track verse, pre chorus, chorus, blah, blah, blah turn around, um verse, pre chorus, blah, blah, blah, um, se heroes Umetsu. You can see all of them. And so all these lines, air indicating, um, the different song sections. And yeah, so, yes, Over here I've click track cues. And then I've also imported an album version and a live version. Sometimes when I'm practicing just on my own. I like playing along to the album version. So here I have those in there right now. Have them turned off here, deactivated just because I don't want to. Last time I had this session open was for a live show, so I don't want those being played while we're playing life. Also have a live version imported. So for some of the songs. We do a bit of a different arrangement where we might extend the intro or something. So I have those in their practice along, too. But again, I've turned them off for now just because I didn't need them. Last time we had I had this session open. But yeah, if I was practicing on my own, I turn that on and practice along with that, I would still get the click in queues along with the live track. So set school. And then yet for some of the songs we have percussion here, synth And then we have some sound effects, which is probably let me pretty much just like some white noise in the background the fades in it. So, yeah. Um, so that's that's that. That's pretty much everything I have set up in this session. And so I have quickies assigned to every single song. So very first song, If I hit one on my numeric keypad, you want to make sure? Actually, I've made this mistake ton of times. Um, I want to make sure I haven't adjusted one of these volumes because if I cool, if I end up adjusting this and I've selected this and I go to hit number one to go to Song one. It's actually gonna input one here. So, um, I've sort of messed up with that a few times. Something to set that. And I was gonna click somewhere else was going click over here. So now we're back on the timeline. So if I hit number one, we see our marker moved right over here. This is the very first song. So it starts playing from there than if I hit number two on my numeric keypad. It goes to the beginning of the second song. It gives me account in song starts number three for five six and so on. You guys get it. So, yeah. Um, some people do numbers some people do. The first letter of the name of the song totally doesn't matter. Whatever works best for you as long as you can access it quickly. Um, then it all works, so All right. Cool. Guys. 25. Lighting: guys. Do you want the coolest, most epic live show ever? Then what you gotta do is he got a sync up a lighting system to your Mableton so that they play along. When you're backing tracks play. You have lights that are going off or on or changing colors along through songs. This is super cool. This technology is amazing. So in order to do this, we could do it all unable to in. But what you need outside of able to news, you need to buy a DMX interface that you can plug into your computer. And so it goes pretty much USB, enter your computer into ah DMX interface, and that runs straight to the lights you're using. So, um, obviously you need to own some lighting to be able to control these, um, or just tap into If you're playing a club or playing a church, you could tap into their system and do it, except in that case, you're gonna need to tweak it, depending on what they have. Um, but I'm just gonna let you guys know that the technology is there and how to set it up. And what you guys do with it is your business. One of my old bands, What we used to do. We had bought a handful of halogen lights from the hardware store and we painted them all black, and we built them into frames and we set them up on stage, and we also bought some led strips. So, like, led bars, so and we sink these up. So when are when we're playing along with our music? Every time the chorus dropped. You know, we have these halogen lights that just lit up the stage, and it was sort of like a d i y set up. But, um, you know, you can do whatever you want, depending on your budget, so but I'm gonna show you how you can set that up. So essentially, you could do that all enable tune. Once you have this DMX interface, what you got to do in on the able 10 and the things is, we're gonna open up a midi track because all of these lighting moves are gonna be controlled via midi. So let's just name this lighting or lightning. Yeah, Lightning. There we go. Good. Um, okay. So let's head over to session view here we're gonna hit Tab, we're gonna go over to our session view and we're gonna create a clip here. So if we double click here, that creates a midi region, and down here, we can start in putting midi information. So once we have our DMX interface hooked up every single one of these, um, these notes that we adhere, um creates a different eyes, either a light on light off, different lighting color, etcetera. So if we wanted to at bar One, we wanted the lights to hit hard and then we wanted them to turn off would be a simple is drawing in. Um, I'm not exactly sure which one's which here, because I don't have my DMX interface hooked up. But say C two was the command for lighting on for halogen light on that would trigger to turn on. And then if I were, if I were to draw another one here, that would be lighting off. That would turn the light off and then hearing a copy and paste, he's gonna shift, click and drag. Both those are gonna hold off showing in a drag and do that same thing again. So now what we have is a lighting that's gonna turn on and off based on the beats along with the master temple of this song. So this is obviously super oversimplified. But if you guys want to know more about it, um, all the technology is here to be able to run that so super cool. Ah, yeah. Go have fun with it. 26. Looping Song Sections On The Fly - Ex. 1: Hey, what's up, guys? So sometimes on the fly in the middle of a set, you want to be able to loop a section and be able to cue in when it comes back in. So say, for example, you come to a bridge of a song and you want to The singer wants to talk for a little bit and use when a loop a specific section, um, without it coming back in, um, and without them having to count out. Okay, I only have eight measures. Talk here you can set up in able to in a way that you can Lupus certain section and then and then hit a key to drop it outer loop and continue on with the song. So I'm gonna show you an example of how I've set that up. Um, actually show you a few different examples. I'll do one video on this one and then another on another one. We have. So the very first song in the set for this artist we have, um it's like a guitar ensure that comes in. And then the rest of band builds on that. So, um, what happens is usually there's an M C or an announcer that announces the name of the artist. And then that's when the crowd cheers. And then the guitar player starts immediately. So rather than me having to count him. So what we could do Option a would be the for Um, okay, everyone, please welcome. Blah, blah, blah Crowd cheers. And then I go. 1234 Then the guitar player starts playing. That's a little distracting. So what I do is I start counting underneath when the when the announcers talking. I'm just counting on my hat high hat quietly just to give the guitar player time. Then when he's start, then when the announcer announces the artist, he can start playing immediately and a lot of the times it's not gonna be necessarily on beat one or beat to its not gonna line up with our tracks it all. So what I have I have a loop set up, so it just loops the 1st 2 bars of our click track. And then, as soon as he starts playing, he plays. Ah, he plays the guitar part four times before I come in. So the very start of the 3rd 1 I hit key on my keyboard. That cues it at this point. So this is where the full bank comes in. Right here. So, um, essentially, this is where he would start playing. We have to bar. Um, actually, this section doesn't The length of this section doesn't matter anymore, because we're just playing. He's playing the 1st 2 sections while it's just looping through here. These 1st 2 bars and then the halfway point, The third party that the third time he plays it is right here. And then the fourth time he plays it here, and then the bank comes in here. I hope that makes sense. So, um, up right near a ruler here we have a loop section. So this is something we can grab and move around for different parts in the session. Um, and we can set it to different lengths. We have different handles here. If we want to look like an eight bar section, we could do that. We could have backing track playing. In this case. All I have is I'm just looping the click, so it's not overly complicated. Um, up over here, this is our loop enable so I can turn this on and off. So right now I have this turned on so that any time the songs playing and it gets into here , it's going to start looping this section over and over. So see that? So it just gets to the and it goes right back to the beginning. So it's just looping a two bar click track these numbers here, tell us this is the bar it starts at, um the BART starts at beat. And then where? On the beat. And then this is the length of it. So it's essentially two bars. So if I wanted to turn that up or down, it's gonna just it there too. So, um yeah. Anyways, um, another important thing to note is our quantum ization menu Here, Uh, I have this set two nuns. That means whenever I decide to hit my next keep, um, hit my next quick key That will take me to a new song section. It does it. Exactly. When I hit that button, I had this set to one bar and I were to hit, say, we're looping through here, and then my quickie when I go to hit it, what it would do is it would do it at the very end of the next measure, so we'll demonstrate that real quick. So there's how we have it set up. So Okay, so I hit number one on my keyboard. Take this year, Um, I hit play, and it's just looping a click right here in the background. I'm just counting along that quietly. And then as soon as the announcer says, all right, blah, blah, blah. Guitar player starts playing down, and, uh, and then when he gets when he plays it through twice on the beat of the first beat of the third time he's playing it. I have the letter Q set up. So when I hit it halfway takes us right to the halfway point. And I'm still counting here. 3/4 way three. And the band kicks in here, so it gives me time. I actually have a set up, so if I miss hitting it at the halfway point, I have it set up so I can hit it at the very last quarter of it. So I have w set up as sort of ah contingency plan. So, uh, yeah. Um, OK. So, for example, if I had this set toe one bar and we were looping through here as soon as I hit. Q. It's not gonna jump to the halfway point here. It's gonna jump there at the very end of the bar. So if I hit it right, the beginning, the bar, it's gonna jump way. This could be handy in different setups, depending on exactly what you're trying to do, the way I like to do it, just based on what we're doing. I like to have it set to none, so I can just hit the button right on time on. The problem is, if you don't hit it exactly on the beat, there might skip just a little little bit. Um, but I don't know if you can If you can play along to a click track, you're able to hit that button in time. That's how that's how I see it. So, um, another thing. If that loop is turned off, then it's not gonna loop that section at all. So that's like the master loop for for our able team session. Um, yeah, that's how I loop our intro so that we can still have our backing tracks Q. And at the right time. So yeah, cool, guys, 27. Looping Song Sections On The Fly - Ex. 2: Hey, So another example of being able to loop a song section on the fly is later in our set Let me go find it Here we were cover song And then at the When we get to the bridge instead of the singer singing the bridge What we do is we just break it down I dropped down there just playing the kick drum And then the band still just vamping along They're just playing in the background while the singer's talking And so what we could do is have the singer count out how long they're going to say everything, but that could totally depend on the show and having the singer think about in the back of their head. Okay, how am I talking too long? We talked to quiet can be a problem, so we've sort of left it completely open. So, um, this isn't an example of looping technically because we're not actually looping a section over and over. Um, although we could this is an example of I sent Essentially, what we are doing is looping a section I've created a bridge that although we might only play from here to here in the Bridge with all the talking I've put in 34 maybe even five minutes just of click. We don't have any tracks looping, cause this song didn't actually have any tracks in the bridge. What we could have is just like whatever tracks we. If there was any tracks in the bridge, we could just loop thumb, say, if it was like an eight bar pattern or whatever else core progression, we could just have that looping in the background over and over for, say, five minutes straight. So that gives the singer, um, a long time to talk if they really want to, or it gives you the option of if they talk, really for only a short period of time that you can just jump right to the next section. So just like we did in the last lesson, um, the bridge of the song kicks in, and this is a point. This is the point. It's near the end of the set, and the singer goes through and introduces each one of the band members, and we do a quick little groove or a little so low or whatever. And then once she once that all happens then it's, uh, Singer does a call a response. So and we do have that plan that where happens four times So the singer sings apart, the audience sings apart, Singer sings apart. Then she gets a different, you know, section of the audience to sing, and she goes back and forth four times. So we start building through this section a little bit. We start like I start drumming a little bit more, but I always have one hand free. I could also set up this to a foot switch. Um, but the way I have it is I just click a button on my keyboard, and that works totally fine for me. Um, I'm used to it. And so she's talking, talking. Then we get to, Ah, point here where there's a call response. So say the clicks just playing over here. And then she does the Colum response thing. Once Nationals, The Colum Response. Think twice. And then at the beginning of the 3rd 1 I have zero set up. So when I had zero, it's gonna jump to the halfway point of the call response. So 1234 3/4 Sorry, zero is set to the 3/4 which is like my backup, um, nine is set up to be the halfway point, which I have is Q right here. So I could that I could relabel as half way or something that I'm not sure why. I I have it. Label is that, um there? You also were planned. She's talking, She's finished. He's done her calling response thing. And then, um I know she's starting the third section. 1234 and dropping away. It automatically jumped to the halfway point. And now I can continue playing. She's gonna do one more time up here. 3/4. We cut it right here. And then the crowd finishes on their own, and then we kicking raw scores with tracks so that allows us to have all of our backing tracks kick in and still have still have a completely open ended bridge that takes a long as we need it to and still have backing tracks. Philip, that last chorus. So, um, this sort of flexibility is supercool Teoh building a really great live show. So cool. Hope you enjoyed that. Um, yeah. Go tested out in with your songs and let me know how it goes. 28. Different Types Of Tracks: Hey, what's up? Something I wanted to add from last lesson about when we went over just the overview of a full able to live session with backing tracks. And I want to show you how I have different song set up differently. So, um so here's where I don't even have these ones in order because I had set this all up before we had a specific set order picked out. So it doesn't really matter because being able to use all of the quickies allows us to jump around the session easily. Anyways, um so technically, this is the very 1st 1 and at the very end of it, song ends and I jump hit number two and we jumped to this tune. Yeah, these these have everything just on one track. Um, some of these other songs if our resume in, we have multiple different. We have different stems for each one that are playing that we can mix individually. So, um, and then there's other songs where we don't have any backing tracks it all. And all I want to do is play along with click. So I think it's 1/3 song. The said it takes me to this tune in love with a boy, and there's a counter that doesn't even need to be accounting. But there is, um, and there's no backing tracks, but I still get the click on the exact same channel at the exact same volume. It's really important to make sure if you're the one putting together any of the click tracks. If you've done a record with a producer and he exports the clicks for you, they should all be the exact same volume. Anyways, if you want to do a just want to make sure sometimes you get different click tracks from different producers and you want to match the mall in volume. So, um, you can you can adjust the volume here. Once you've selected on a file, you have volume right here. You can pull it up and down right there. Um, so that could be handy just to get them all balanced at the same volume, because last thing you want is to get up on stage and start playing and find it one songs way quieter and you can't hear it. So, um, yeah, that's the that song we're just using. Click Um we shuffle on along a little further. This song, Um here's a situation where we've mashed up to tunes together. This 1st 1 doesn't have any click track at all. Or Sorry, it has quick doesn't have any backing tracks. But I put in queues all the way because we have a really tight um, Segway from one song to another where we we ring out on this beat right here and that are sorry this beat right here. And then there's a quick counting. And while we're ringing out, we do a bit of a trash can and it kicks right into this track. And I don't have time to lean over and try toe hit any keys So we haven't is lead right into each other, so I'll show you a quick example of that. This is just from the ending of this song. Um, and on the four want 234 Stupid, too. 1234 Do. Um yes, there's an example of how we've set up a Segway from one song to another without having to change anything. Enabled him, they just they run right into each other. We have that with another set of songs over here. Exact same sort of thing to 1234 Yeah. So there you go. Um, yeah. Different sets of tracks. Um, there's also even one tune in here, Um, over here. Where, um, we have a click track set up, Um, and I mostly just playing percussion on the song. So actually just used the click track just account in the band just to give them time. And once the band starts playing once the acoustic guitar player starts playing, I don't count at all, and we just let it. We just let it move a little bit. After that, we probably don't stay 100% on the click, and that's okay. And then right on my click track, you'll probably notice this doesn't look like a click. It all this is actually just the album version of this song and same thing. I just use it to count in the bands. I could just put a metre Norman here, but, um, for me, it was just a ZZ just to drop in the song. So what I do is when the singer's talking before the song starts, I just listen to this a little bit in my years backing out. Let's take a quick listen to that. And then, um, always knew a few bars will stop it. And then all this keep time in the background. That still allows us to move a little bit. Um, some songs don't need to be on the click. It totally depends on the style of music you play. A lot of our stuff is on the click, and then when we're doing some acoustic stuff Um, yeah, we just decided we don't really need that. So, um, Anyways, there you go. 29. Farewell: guys. Thanks so much for checking out this course. I hope you enjoyed it and benefited from it. Now you can go out and put together some killer tracks and just crushed your live set. Um, if you have any questions or anything like that, send in my way, I stay active on all of my courses, and I know it's like to be frustrated. So if you have any questions, just send in my way. Um, guys, just keep making great music and do me a quick favor. If you enjoyed this course and benefited from it, share with a friend, maybe leave me a positive review and until next time piece.