Music Production in Ableton Live 9: Part 2 - Recording and Editing Audio and MIDI | Tomas George | Skillshare

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Music Production in Ableton Live 9: Part 2 - Recording and Editing Audio and MIDI

teacher avatar Tomas George, Music + Audio Production Instructor

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

Watch this class and thousands more

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

Lessons in This Class

13 Lessons (54m)
    • 1. Welcome to this Class

    • 2. Recording Audio

    • 3. MIDI

    • 4. Record MIDI

    • 5. Recording the the Arrangement

    • 6. Loop Audio

    • 7. MIDI Editing

    • 8. Automation

    • 9. Groove Pool

    • 10. Quantising

    • 11. Microphones

    • 12. Multitrack Recording

    • 13. Warping Audio

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About This Class

In this class, we can through recording and editing audio and MIDI in Ableton Live 9 on screen with me Tomas George.

We cover the topics -

Recording Audio and MIDI, Recording to the Arrangement, Looping Audio, MIDI Editing, Automation, The Groove Pool, Quantising, Microphones, Multitrack Recording and Warping Audio.

Meet Your Teacher

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Tomas George

Music + Audio Production Instructor


Hi, Tomas here. I'm a UK Music Producer, Audio Engineer and Composer I've been producing and writing music now for over ten years. 

I have a MMus Masters Degree in Music Production and a BA(Hons) in Music Composition.

I really enjoy creating and editing all types of music, but I especially love teaching it online.


See full profile

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1. Welcome to this Class: Hi there. It's Thomas George, and welcome to this music production. In Able to Live nine part two class where we're going to be looking at recording and editing audio on MIDI, we're going to be looking at things like recording to the arrangement Midi editing, automation, Groove, Paul, Quanta izing, mortar track recording and also warping audio. I also do have a part one class all about getting started and setting up, so I do recommend checking that out before going on to this part to class. However, if you just want to learn about recording and editing audio midi, you can always skip to this class as well. So join me in the first lesson where we're going to be looking at recording audio. 2. Recording Audio: hi. In this next lecture, we're going to have a look at recording audio. It's actually really straightforward to do in ableto from the start off in the session view so that selecting audio track, then we just have to arm it here. If we are not wearing headphones on, the audio is actually coming out of our built in speakers. Make sure the monitor is off. If we hit monitor on again, we can see I'm actually here, my audio coming through. Now let's just put audio often. That and if we go on audio from and click on here, be external in I'm going to My preferences can see here. The audio input is one, which is my audio interface. When we hit record it be the same microphone that I'm actually speaking through now. So it's really simple. We have to do is on the track. Now it's going to record end, so we've on the track ready to record. We can see here that the squares have actually changed the circles, so all we have to do is hit the circle, and now this will be recording my voice, and it's really some to do just hit this square button, it starts recording. And if we play this, that should let. This will be recording my voice, and it's really some to do. Just hit this square button. Well, actually, loop my voice as well for double click on the audio. You can see my audio here, and I'll just play this once more. And now this will be recording my voice, and it's really some to do. Just hit this square button. Skeptical, and now this will be recording my voice. We could see that actually looped around what I was saying. If we're recording something, we actually really want the Mexico Oman. So it's better to have the Metro there, Mom and hit another circle. This were called with the match name on. Obviously, I'm not speaking to the match. No, right there, that record never loop. Turn the match them off by hitting this button. Here. Course, we can change the tempo here by Eva Hitting tap. We can tap in the tempo or we can literally just type in the tempo. It's very similar in the arrangement view just hit Tab to get to the arrangement. View now in Arrangement View Festival you have to hit this button here to get to the arrangement. View Onda. We have to select the start. If you wanted to record the start for now, I'm just going to solo this so the rest of the trucks don't play. If they do come in there, it's really straightforward, literally just hit play and hit record, and it's going to record in what I'm saying. We can see it here, and I'm going to hit, play and listen back. Remember, two unarmed this after and hit record, and it's going to record in what I'm saying. So that's basically how you record audio into Ables and life. So a quick overview in the session view we just on the track, and then the squares will turn to circles like, say, on in the arrangement view. We just select where you want to go. It record and it's is easy. Is that so? Thank you for watching this lecture on. I'll see you in the next one 3. MIDI: this lecture is all about midi. So in the next few lectures we're going to have a look at recording on editing Midi Midi itself isn't an instrument. Midi is actually a load of data ableto ascends into an instrument Mideast stands for musical instrument digital interface And if we look and able to here we can see instruments on this is where we can send amedy data into so able to just reads the midi information so that the information comes in forms of midi notes. So no, you're playing to see one certain point or D one or different hits and it's not necessarily just keyboards that kind of control midi I personally use a pc 40 mark two for performing Midi and also the push to which have a fantastic able to in controllers for editing, manipulating and actually writing Midi. So yeah, the next lecture is gonna be about recording midi. But I thought I just tell you that midi isn't actually an instrument itself. It's a load of data that we can put into an instruments 4. Record MIDI: Hi. This lecture is all about recording Midi into able to live. So I've got too many tracks here, and the first thing to do is to make sure that other tracks aren't so load. And also to make sure our truck is activated by hitting the track activator button here. And we need to go down, actually arm the track I hit in this button here. And then if we want to hear, are trapped back, we have to make sure the monitoring is switched on to in or auto. Right now we're in session view, and if we hit our midi keyboards or USB keyboard, you could hear it come through here. If you're Midi keyboard is no actually set up, make sure you go back to the preferences and then go on a link Midi. Now we can choose Amity Keyboard here. Okay, It's actually really easy to record into life. If you want to record to a match name, though, we have to make sure the match stone button is selected on. If we hit this arrow here, you could actually choose are counted. So right now it's septa none. I'm going to change just to two bars, which is a clicks. If we're in 44 and then you'll notice up here all the squares of term two circles and all we have to do is hit one of these circles, and this will actually record in what we're going to place. I'm just going to record something in there and to stop. We just hit the space bar or the stop bottom. If we double click on this, we can see the media information here. So it was pretty much in time. You can quantities this Kwan ties in basically means we can move the MIDI information to the grid. So if we select all way of command A, we can actually control click and hit Kwan ties. We also have Qantas settings, so let's click on Kwan Tai settings first, and we can choose Kwan ties to and here it will have on note values. So let's choose 16th notes. Okay, and you'll see here it's actually quanta ized to the 16th notes. That's hit commander again. Trolling, click and you'll notice that the key command for quantities is command. And you obviously this is already being quanta ized, so this is basically how we record in the session view. Let's switch over to the arrangement view. Now let's hit up and that's select the other media track. So let's unarmed this one. That's, um, this one, okay? And I just turned off the track activator for the previous MIDI track that we recorded before. So now I've got this biddy information coming through on my MIDI keyboard on it is pretty similar, Really, or we have to do is select where you want to record. Just hit record on. Make sure the Metrodome is on. If you want to play to a click, make sure the counting is set to wherever you want. I like to blast personally, which is a clicks you know we have to do is hit this record button and then play something that okay, don't hit the space bar. And same as before. Just double click on many information from up here. Want to Kwan ties Hit command A. To select all on the key Command for quantities was just command and you you'll notice it is now Kwan ties to 16th notes. Let's just play this back and to play this back, we also have toe hit this button here on. Now it playback on media instrument in the arrangement. View the next name by hitting this button here. So that's basically how you record midi information in tow ableto life. 5. Recording the the Arrangement: Hi. This next lecture is about moving our clips from this session to the arrangement view on also recording to the arrangement view. We're currently in the session view Right now. We can select a clip like so and there's two ways we can do this. One way is to actually hit command and see to copy. And then let's go into the arrangement view, find our media engagement here, then just hit Commander V to Paste. It's really that simple or even easy away. Let's go back to session view is to just click and drag, then just hit Tab and then just to rocket into the arrangement view. So that's how we could move clips between the session view on the arrangement view. It's the same way going from the arrangement view to the session view. We can just hit command and see Hit Tab to go back to the session, view it command on V to paste, or we can just click drag hit Tab and paste it in like so Okay, at the moment, this project is kind of a bit messy because I've just been demonstrating how we can record audio, so I'm just gonna tightly to stop now and just delete some of these audio tracks and just leave these loops and just move these up here just to give the project a bit more than arrangement. And now we can actually record this to the arrangement view. Let's go back in the arrangement view. Hit command A. Actually delete all of this, just a backspace to delete. Let's go back to the session view by hitting top, and all we have to now is hit record on. This will record our session view into the arrangement view that's really going to use the match name here. I'm going to have a countin off two bars. This gives me a bit of time to prepare myself, ready to record into the arrangement view. So that's just hit record is playing as well. I'm just going to trigger this trigger this leap. I'm just going to stop this and now let's go into the arrangement view and we can see here . It's recorded into the arrangement view. Let's hit this button here on this, going to hit play on playback exactly what I just triggered in the session view. You can also go through now actually added all this information so we can actually go in drag stuff around, move stuff about. And it gives us a lot freedom to actually record in a live performance into the session view and then go in and edit it all in the arrangement view from this lecture we've gone through recording to the arrangement view on actually how to move clips from the arrangement view to the session view on from the session view to the arrangement view. Thanks for watching, and I'll see you in the next lecture. 6. Loop Audio: Hi. This lecture is all about looping audio in able to live. So we're in the session view here. I'm just going to click on this loop and down here, we can actually see the audio waves. So if we click on the top on here can move this bar and this is the section that will actually lose. It's make sure loop is turned on here. And if what isn't switched on that, we can actually turn on or off. We're going to talk about war in a lot more detail later on. But what's basically where we can move or edit the audio? So it fits the tempo of the song. We could make effects out of warp also. So this is a Lubar. So for me of this here, the loop will actually start here and the end here and this section here will be around and right. Let's just play it and we can see what happens with the waves. Pulls this make this a bit more obvious. This section here is going to live around around. Could be the start point to here. Then it should play here and actually loop this section here. Okay, So this is basically how we loop in the session mode. It's really straightforward. We can actually move at it and every once what we want to look, you can even do this. Life could also loop in the arrangement view, and here we have the clip. We can change the length of the clip. These are is here now. I will return on the loop here when therefore we drag out, it will actually drag out a loop. We could see that these bars have stopped moving. It's just the same loop that we dragon out again and again. Let's even move this even closer, even closer. Just so it's even more obvious. And here we can see this is the loop. Let's just play this and try again. Let's play this. So the way we loop in the arrangement view is actually where we drag it out. We can drag it back and we can move it all around and able to just does it in real time. So let's move the loop away from the start point so you can see the start point. We'll start here that it will continue living. You can see when we drag, It will move in real time. So this is basically how we loop in the session view. So the session view we just set up the loot points on it would just go around around around on in the arrangement view, we set up a look points and then we just drag it out. So thank you for what's this lecture and I'll see you in the next one. 7. MIDI Editing: Hi. This lecture is all about editing midi information. So I've got this many track here, and I've got my MIDI keyboard actually plugged them. Just going to hit a few notes on the keyboard. Previously, we recorded a MIDI party, so I'm just going to hit the circle here, make sure the Metrodome is turned on and have a look at the count in which is set to two bars. I'm just going to record amid depart in right now, Okay. We had the other trucks play there. Just going to solo this at the moment. It's an ass button. And down here you can switch between the two views. So here we've actually got the instrument Midi instrument way. We can actually add effects or change the instrument on. If we get out to here, we can see the MIDI data. We can actually toggle between these two by hitting shift and tub. That's switches between the two. So I played that pretty much in time. You can quantifies this. Acquitted Previously, first of all, selectable by commanded a and it's not command cute quantities that will actually quit. It's actually commanding you, which is the next letter in quantities. So let's hit commanding you and it quantifies is so can actually right click on. We have Qantas settings here, so we have cuantos to I've got to set to 1 60 So I moved to the closest 1/16 or current grade is where actually zoomed them. I'm gonna leave it on 1/16. Notes. Let's just hear this back. I'm also going to change the loop. Yeah, so this is a start point endpoint on a loop on bleep. Switched on. Now, this will just leave random around. Okay, Great content a match name off here. Now, I can actually grab the notes and move them around. Move this. We can actually use arrows to actually shift the nights around that, say, or the open nine arrows. We also have fold here, which basically means it's only showing the notes that we played. So we want to see the full chromatic keyboard. We have to make sure folders are folders really handy for drums. If you've just got, say, the kick drum. Ah, high hat snare. You might just want just a few the note showing. But if you're using this for instrument of pictures like keyboard are definitely have fold off personally. You can actually hear this back. Make sure this goes on. You might not be able to hear it back, So we have a few key commands here as well. So if we click shifting up, it will actually jump up. The whole active shifted down. It will go down, up or shift. A rut will actually extend the note or shift and left. Okay, this is it Will make the notes way Could even select all on. Then hit shift on the up arrow and it would jump everything open up to shift on down arrow shift of rights Extend or shift and left. It will make it all smaller. Say, if you go on to quickly edit your media information, these key commands could really speed things up way. Also have the velocity down here. You'll know test that when you click a note can change its velocity on the color will actually change. So if the color gets darker, it will be Ah, harder velocity velocity goes anywhere from one which is off or 127 which is the highest medieval city. Of course, we can copy and paste certain clips or just hit old and drag down. And then we can go to this one. I normally like toe color a different tracks, so I can quickly tell them apart. And then we can go to this one and say, Select all Monday and then shift in Barbaro and this should shift all up productive. Let's just play the first loop, then go into the other loop, which should be up one octave buck to the first lady. Okay, so in this lecture have gone through some midi editing tips and shortcuts toe help you quickly edit your midi information in able to live. I'll see you in the next lecture. 8. Automation: Hi. This lecture is all about automation. Automation is where we can control a parameter over time, and we can actually write this in. There's two ways we can do this in ableto weaken Eva. Automate the clips individually or we can actually automate in the arrangement view. So I'm just going to select this loop here and actually so low this track. And here we have the loop. We can actually automate this, so let's go over to this e here. This will bring up our envelope. This allows us to actually automates. We have a few different views here. If we click on clip, we have even clip, which allows us to automate in the clip or mixer it allows us to automate in the mixer. Let's start off with clip. Let's just choose volume modulation. There's a few different ones you can actually choose. For example, if there's an e que on their instrument or compressor, we can also automate on effect as well, unable to weaken, basically automate anything which is really useful that start off with volume automation and here we have a clip. I'm just going to write in some volume or automation here It's really easy. We just have to click and create this little transients and driving them down, let's say and to double click to actually get rid of one is automation points the case. So I'm going to play this, and this should basically gradually decrease the volume here on increase as well. That's just hit us. Let's actually make the loop a bit smaller. Just leave. It ran like So I'm just going to play this so we can hear it again. We can create curved automation as well. Doesn't necessarily have to be a straight line. If we hold out option and click, actually curve the automation. You'll notice that the cursor has a small curve next to it and the line is complete. We can create caps. Let's hear this actually preferred this straight. I'm going to her option. Just put it a bit straighter, right? So let's hear this became going to drag an effect on to this loop now and actually automate the effects. So, um, on audio effects here, I'm going to choose a course on drive the Khorasan here, and I want to actually automate the dry and the wet. So let's go back to the view on before shortcut shift tub and I click on the envelope here . Also, if there's a red dot, it means something has been automated. So let's click on course. I'm gonna choose the dry wet. So which is here. Okay, so let's have no chorus to start with and then add on a lot more course, right? So that's here. This wait can automate effects volumes, pans, basically anything enable time, which is really useful. We can also turn the links on the rough. This allows us to actually automate longer than one loop. So, for example, the first time round could be quiet and gradually increase over the different loops. The fourth time round could be a lot louder in the first time around. Let's link this for now, though. Let's go into the arrangement view back into the session view. I'm going to actually copy this over and here we can create. Automation is also so if we click on here, we can go down to say mixer and shoes truck for you. You can also automate it like so So we've actually got two different types of automation on here. We have the clip automation and we have the arrangement automation that's here both. Let's just delete this on track this over. Now let's hear this. So this should have the truck automation on the arrangement automation. Let's just move this around slightly to get rid of one of these points. Just double click that's come. Let's hear this now dragged loop over and you can hear even in the arrangement still has the chorus effect on the volume dip here as well, and also has the automation we added in the arrangement. Be his arrangement automation. Look on here. We can see it loops around and has the clip automation. So it's really great, especially if you're doing a live set in session made. Say you're recording to the arrangement and go in and need to know the automation or even create new automation. So you want ah, fade in or fade out. We want certain effects to change at certain points and didn't quite get it perfect in the performance. You can go in the arrangement view here and actually edit the automation and make stuff basically sound more perfect than it was in the performance, which is really useful. So Thank you. Watch this lecture. In this lecture, we've gone through automation, the different types of automation, clip automation and also automation in the arrangement view. 9. Groove Pool: Hi. This lecture is all about the group all able to life. So there's actually another area that haven't talked about called the Groove Paul. If we click on these waves here, this will open their group. All this actually allows us toe have different rhythms on our audio or midi tracks. We conceive a dragon. Our own instruments kind of insert these rhythms onto other beats, or we can actually use some of able tones rhythms. So let's use some of able tons. Let's go on places, have hit packs, then get out to swing and grief. And if we hit this little arrow here, there's all different genres and styles and then we have to do is drag them into the groove pool. That's try and why Cut one Okay, dragged out here and now I've got us beat here. I'm just gonna play this just to show you what it originally sounds like. So I've got this soloed and I'm just gonna play beat one, Okay? It's pretty straightforward, Andi, all we have to do this let the clip and then go down to groove here on whatever you've dragged into the Groupe Bull should be available below seven. The select and why cut one on Hit commit. You see that slightly changed here? Let's just listen back has changed slightly. Let's try a few more some Afro jazz bongos and try that. That's so Let this here commit, you can see is added. All this automation as well. That's just hear it now. But we could do with this. Beat is Well, let's hear the original that we must let the groove pulled on here. Let's try the Jasbir memos and commit. We can see it added All these volume automation on a clip. Let's try another one. Try Konger two. I commit. Yep, Override this Look at these automation is here. It's completely changed so we can drag in our own beats here. That's good to beat one again. We can actually choose to hear this Will. Actually, right? I beat to information. You can see it slightly change the waves there. We could do the same with MIDI again, the grief pull that would change the information on Midi also. Then we have to hit, commit and then we can see the MIDI information actually changes slightly. I'll just show you once more have a look at the media information here. Let's try and why Cut one. Have a look at the MIDI information on I'll hit, commit and you can see this actually moved. There's different things on here as well that Kwan ties time in random so we can actually go through and edit and manipulate Amidi on all you clips with the Groove pool to hide the group. All just hit this wave again. This will free up a bit space on your browser. 10. Quantising: Hi. This lecture is all about quanta izing midi. So quanta izing is a way we can actually correct our rhythm so we can easily do this in able to life. It's really simple and it basically just snaps on note to the grid. Weaken Select what note value it wants. And it's basically just a way to correct our river if we play incorrectly off once experiment of new rhythms. So two quantities just to let them any notes, command a and then just hit command you is a short cut to Kwan ties. We can change the Qantas settings by right clicking on going to Qantas settings. Let's try it 2/4 notes which will actually quantities to every beat we can see here that is completely changed on If we so low this instrument and play this back, we can hear it plays on every beat and this is what it was like on 1 16 floats. We can also choose on Qantas setting current grid, which is where we are, So if we zoom in fervor or zoom out, it will quantities to the grid. There's a lecture as well called Groove Pool, which is basically another section enable turn. We can access it by hitting these waves here, and this actually allows us to choose different grooves. If we go down to places here, packs core library, we can go on swing on grief and this is all different swings and grooves. There's also a Qantas section here, and you can choose over swings and grooves which will quantities amity, information. Choose hip hop on here pup for Try getting here and now we just go down to groove hip up for head. Commit on this will. Also quantities are media information into more of a groove or swing than it was previously . So this is good if you want a bit more rhythm or Brit more floaty music rather than it just being completely in time, which can get rid of some of the human elements of your music. So this is basically just a quick overview off quanta izing midi information in able to life 11. Microphones: Hi. In this lecture, we're going to talk about microphones, so unless you're using a USB microphone, you'll need something called an audio interface. The loads of different ones you can choose, but you're starting off and you want one just in your house. Or if you travel quite a lot and you want quite a portable USB interface, I would recommend the scarlet to I to. This is the most popular audio interface, and it's just really good. If you're starting off, it has two inputs. These cannot even be Jack, so it could be guitars or ex lives that could be microphones. I'm as it's, too. You could plug in stereo keyboard, so keyboard with a left on the right output and it really has all you need for home use. So if you have a microphone or you want to record the keyboard him, just leave this on your desk at Home interface. I'm actually using two currently record. This is called Apogee one. The reason I've got this is because it's about the size of an iPhone. It's really small, really light, really portable. So from traveling anywhere or from out and about, I think, just take this interface with May, and it's really small and lightweight. So I actually use this for my voice overs and plugged into this. I've got a microphone called on R E 20 and Ari, 20 is a dynamic microphone on. I personally really like it for voiceovers on any kind of base frequency instruments. So, like a bass guitar or a low male vocal, I think it works really well. It's lows different of a most you confuse for voiceovers. The shore s M seven b is a fantastic one for voiceovers to You're watching the sheriff's the one presenting on the radio normally nine times out of 10. The even using short S m seven b or the electro voice Ari 20 both of fantastic or not the cheapest Mike's. But I do think he wants do voiceover work. These ones are fantastic. So we have three different types of microphones. We have a dynamic we have a condenser on. We have a ribbon microphone dynamic sell up more durable, but they're not a sensitive as the other two types of Mike's. This mike, um, speaking into now is a dynamic mike, so I can shout in the micro really loud and it wont damage. It would be able to pick it up. So stuff like Kick Drum, Mike's or rock vocals or loud vocals. Well, for live performance, it's normally dynamic. Mike's condenser marks a lot more sensitive, but there are a lot more fragile on the generally more expensive. Also, you can spend thousands of dollars or parents on their condenser microphones. One of my favorite condenser mikes to use is actually a 414 which is really a jack of all trades microphone. So this allows you to pick different patterns are going to that a bit later on. But yeah, 414 is great for a starting point. If you want to get one condenser microphone and the last type is a ribbon microphone, this picks up a lot of sound, is very thin and narrow, but it's extremely sensitive. If you do drop it by accident, it will probably break. It's really fragile. If you put power to it by accident, it will actually blow up the microphone as well. I don't actually own any ribbon microphones. I have used them before, but I don't know one because I'm scared of breaking it. Really? Sometimes it could be a bit clunky or clumsy setting up on. I really don't want to drop a river Michael that sits God. So if you're recording a band, really, you want a selection off condenses and dynamic microphones. If you just recording at home, you can get away where maybe just one or two dynamic mikes and maybe a condenser Mike. If you're recording something a bit brighter, like female vocals or high male vocals, you might want to pick up a condenser microphone of Mike's. It really is how much you pay. Generally, the more you pay the better than Mike you get. You can spend hundreds or thousands of dollars or pounds of microphones. It really does depend on your budget. You can get us to be microphones like the Blue Yeti is a common one that a lot of people use for voiceover work. I personally don't really rate this microphone, as I do believe. Using interface will make him, like, sound a lot better. Another great jack of all trades microphone is a S M 57. This is a fantastic mike, and it's reasonably quite inexpensive for what you get This is grateful Corden stuff like drums or guitars. It really is a fantastic, durable mike for live performance a lot of people will use sm 58 to 9 times out of 10. You'll see this mic on stage is basically just really durable and is really great for live performance. I wouldn't necessarily use it in a recording studio. But for life is fantastic. We also have different polar patterns. For microphones, you have Omni directional mikes, which picks up sand all the way around. So if you're recording a band and you want the sound of the room, are probably stick on the directional mike, unless somewhere just to get a nice ambient sound. We have cardio with microphones, so this will be used for a solo singer, so it really just picks up the sound in front of it. We have hyper cardio it, which is a lot more directional, basically picks up the sound in front of it and a tiny bit behind. And then we have a bi directional or figure of eight microphone to. This picks up sound from two sides, like number eight to Really, if you do want to start building got beyond microphone collection. I'll probably start with sm 57 if you want to record any drums or guitars. If you want to record vocals, maybe consider getting a condenser mike. If you can afford it, get the 414 but it can cost about $1000 new so they're not that cheap. But it really does depend on how much you want to spend, but have a research going to a few music shops. Test them out, see which one you really like with microphones. Really, it's up to you how much you want to spends on what you're trying to achieve. If recording vocals. Obviously you need a different microphone or microphones than a drum kit. So in this light show, we've gone through the different types of microphone, which are dynamic condenser and ribbon. The polar patterns which on the directional cardio it hyper cardio on figure of eight and also some of the most common microphones that used today. So thank you for watching this lecture 12. Multitrack Recording: Hi. This lecture is all about multi track recording in able to so multi tracked recording allows us to record more than one audio track at the same time. So this is really useful if you want to record more than one instrument so it could be on external synthesizer. We're recording it in stereo sits two channels or it could be two or more microphones. Right now, I've got two different microphones set up. Got this microphone here, which is an electro voice ari 20 which is the main mike I use for my voice overs on this microphone here, which is the A k G 414 So the A K G 414 is a condenser microphone, and it has different polar patterns. Also, at the moment it's set on cardio, and now it's on on the directional. So it's basically designed for recording the whole rooms recording a band. You could have this on the directional on it. Give a nice, warm warmth sound off the room. You have other ones as well. A hyper Cordy. I'd hyper Cordy oId on figure of eight, so it's gonna pick up here on day on this side. So if I put it back and cardio it now, it won't pick up on this side. So this is a really useful kind of jack of all trades microphone. It is quite expensive compared to like a dynamic microphone, but it is really useful. Yes, so I want to do in able to now is record both of these microphones at the same time. The easiest way is to do it in the arrangement view. So I've got this channel here. Let's rename this Ari 20 because it's this microphone and this one here lets rename this for 14 because it's obviously the 414 we have. The monitoring here is well for switch on monitoring. It's going to sound a bit weird because my Scream capture software is also using this interface. And now we can hear this come through on this one from fruit, so it's gonna sound a little strange. That's turned off until we actually need it on there. Now we have to do is arm both the tracks, hit command and clicked Army of one and then hit record, and that's basically it. Now this is going to record both off the microphones. So this is my quando. We can see the peak on. This is Mike to weaken. See the peak space bar to stop, and that's basically it. Let's have a listen back. Now. This is going to record both off the microphones. So this is Mike one. We can see the peak on. This is Mike to weaken. See the peak space? This microphone also has a pop shield. Let's get rid of the hard kind of wind sound that this one doesn't it? It does sound slightly different about a pop shield. Also, we can do this in session view as well. There's two ways we can do this. One way is, of course, make sure that both armed by hitting, command and click. And if this is selected on one bar or more, we can simply just hit record and hit this one also, and this war recording the session view now and it's going to go random around in a loop. Let's hear this back on this war, recording the session view now, and it's going to go random around in a loop on this war, recording the session view now, and it's going to go random around in a loop on this war. Okay, in this endeavor way is this button here, which is the session record, but, um so this will record both also on this war, recording the session view now, and it's going to go. So let's start a new one here and hit record. So this is how we record more than one microphone or dear Channel into able to life. So this is how we record more than one microphone order channel into able to life. So this is how we record more than one microphone or audio channel into able to life. So a quick recap in the arrangement view just on both the tracks hit record up here in the session view on both the tracks. Then you can hit the circles and 10 what we can use this session record bottom. That's basically how we record more than one microphone into able to life. We can, in theory, record as many mikes as we have inputs in our audio interface. So if you're recording with a to import audio interface, you can only recall two microphones unless you daisy chain them, which means you link up more than one interface, one after another. But generally, Yeah, I've just stick with the 246 maybe 16 channel if you want to record a band. But this is how you do enable certain. So thank you for watching on the hope you found let you useful. 13. Warping Audio: Hi. This lecture is all about warping in able to life. So warping is basically like quanta izing for audio allows us to slow down and speed up the audio of are actually affecting the pitch ableto have actually made it really simple to do , but they don't always get it 100% right, as the computer just has to predict whether certain transients are from the audio waves. So we do have to go in and actually correct are warping sometimes. So here I've got how sleep it's gonna drag it into this audio track. But we double click on it. We can actually turn, walk on or off when return What on? You'll see these little gray spikes. This is where Mableton has predicted. That is a transient. So you'll notice on the audio spikes there. There's a little gray para above. If we double click on it, it will change to this yellow box which locks in our warp. So what we gonna do now is actually turn on the Metro name and just listen to the loop and just see if ableto have got it correct. Also says here segment beats per minute is 127.5 free. It probably isn't completely correct because this is an Elektronik kind of loop. It wouldn't really be a point in the BPM. It probably is meant to be 128. Let's just hear this back with the match layman. Just see if it works. Sounds fine to me. Let's slow this right down. Mableton has done a good job of warping this, probably because it's a very simple beat. If it was a more complex beat, we might have to go in a manually move stuff around. We can still go in a move stuff around. For example. I'm gonna lock this in here and then just move this. This would create kind of a double time feel here, and then the halftime feel here. Let's just hear this. Just dragged it back. You can drag and move around. We can double click to delete these or double click again to put them back on. We also have different walk notes. Here is currently on beats, which is the default. We can change it to tones, which is good for instruments like keyboards or strings has more kind of pad sounds. Rather, the hard hitting beats does give a different kind of sound debates. Let's try texture, also going to turn the loop on on a loop button here for every pitch. Three pictures. A really interesting one because actually changes the pitch as well as the speed. So it's similar to a vinyl. So if we slow the tempo down, it will go a lot lower, and if we speed it up, it'll go a lot higher. This could be really useful for effects so we could have a section where the tempo increases, as does the pitch or maybe even the end of a song. We could have a vocal line and it could slowly go down in pitch. There are lots songs that have that effect, where the pitch decreases on, the speed decreases at the end. Let's just try something similar with the drums. Obviously, it probably wouldn't start at 223 beats per minute. Let's just choose 1 to 8 and then get try and drag it down at the end. I kind of feel to put this back upto 1 to 8. We could also go in and drag it around like I said before and move certain sections so maybe we could have something like this. This will create a very strange effects. Let's just hear this texture is good for textures. Complex does work well, but does use a lot of CPU or computer power. So if you're running a live session of lows, a different effects and loops going on ah, probably avoid complex, complex pro. Generally beats is most suitable for beats. But if we're trying to create more of an effect like this, we can always mess around a few of these. Let's try textures and hear what this sounds like. Oh, so you can create some really crazy effects that this this sounds like an explosion from a distance to may. Okay, I'm just gonna try. Never looked. Try this one can. Warp is also on here. Let's try 1 70 beats per minutes. Let's hear this. Surely his on sounds like to me that it's been what perfectly in time you can always zoom in on double check. Yeah, it's pretty much spot on. Maybe you could have it there instead. Yes, very, very minor, is she? We can always click and drag to tighten up sample here, there was tightened up slightly. Sometimes we don't want it to perfect, or it might sound a little bit robotic, but we can always go in and tied in a loop if we need to. So this is how we walked in, able to live. It's really effective and really easy to actually do. That allows us to completely change the speed off certain loops. And also we can make new effects and new sounds from the different walk modes on, from warping in able to Life.