Music Production in Ableton Live 9: Part 6 - Effects | Tomas George | Skillshare

Music Production in Ableton Live 9: Part 6 - Effects

Tomas George, Music + Audio Production Instructor

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21 Lessons (1h 7m)
    • 1. Welcome to this Class

      0:33
    • 2. Sidechain

      9:08
    • 3. Resampling

      4:34
    • 4. Send and Return Tracks

      6:35
    • 5. MIDI Effects Intro

      2:03
    • 6. MIDI Effects: Velocity

      2:02
    • 7. MIDI Effects: Scale

      2:51
    • 8. MIDI Effects: Random

      2:17
    • 9. MIDI Effects: Pitch

      1:36
    • 10. MIDI Effects: Length

      2:52
    • 11. MIDI Effects Rack

      4:03
    • 12. MIDI Effects: Chord

      3:47
    • 13. MIDI Effects: Arpeggiator

      3:25
    • 14. Audio Effects: Simple Delay

      3:36
    • 15. Audio Effects: Ping Pong Delay

      1:56
    • 16. Audio Effects: Reverb

      5:02
    • 17. Audio Effects: 3 Band EQ

      1:30
    • 18. Audio Effects: 8 Band EQ

      2:40
    • 19. Audio Effects: Compressor

      3:19
    • 20. Audio Effects: Limiter

      0:52
    • 21. Audio Effects: Tuner

      1:55

About This Class

This 6th Part class of my Ableton Complete Series is all about the audio and MIDI effects in Ableton Live 9.

This class includes lectures about Sidechaining, Resampling, Send and Return-Tracks, MIDI and Audio Effects in Ableton Live 9. 

Transcripts

1. Welcome to this Class: Hi there. It's Thomas George, and welcome to this class music production in Able to live now in part five, which is all about synths, samplers and racks. So this is a part five class. If you're brand new to able to live nine, I do recommend going back and checking out parts. Want a four? However, you can always skip these and have a look at this class. If you want to learn all about simp samplers, Iraq's so in this class, we're going to have a look at the instrument rack. Matt Crows simpler on sample, So join me in this class if you want to learn all about synths, samplers and racks in ableto live nine. 2. Sidechain: in this lecture, we're going to have a look at side chaining, So side chaining is basically where we use the volume off one track to control the volume off another track. So where the track is loud, this is where it will side chain, so that over track is quiet. This is most common in dance music, and we normally side chain the kick drum to another track like the Base or a Pad or a synth . It's quite a classic sound for a typical side chain, and it's a theme kind of pumping, pulsating sound that we do get in a lot of electronic dance music. It's actually really simple to do in a Bolton. There are over D. A W's what's a little bit more complex. Been ableto it's really simple. Behalf. The first of all, create a track that will side chain to another track. This is often called a ghost track, because we can actually use this track to control the volume off another track. But the original track you weren't actually here. You can mute it, and I'm just gonna find a kick drum. So that's just typing kick this all day. We're actually going to mute it so it doesn't really matter. It's going to loop this. So this is actually playing on every beat. So let's move this here and turn on the Metro and okay, that's on debate night. Then we need to find the instrument we want to side chain. So for now, I'm gonna use this part. All we have to do is click on audio effects here and then finding compressor and drag it onto the instrument we want to side chain. Then we extend the compressor here, go down to side chain, and then click on the instrument we want decide train it from. So for example, with this kick, every kick hit we here it will put the volume down on this pad sound. So the pads sound will be playing on the offbeat and the kick were playing on the up beats . So let's find that kick, which is five audio. So so like this, we can also rename this. Let's just read, Name it Side chain on. Click back on this. It's renamed it Side chain. Okay, let's play this now and G r stands for gain reduction. The lower we have the fresh Oldham or we're going to side chain. So let's have a big side chain like this Could even mute this track. So it's on the plastic hop. I'm also going to copy this side chain compressor. It's this part as well. We can hear that a lot easier on this part here. Maybe that's too much. Maybe about here. Wait. Can hear a pulsating I'm gonna write a new bass part just so we can hear on the base as well. Okay, Lets just drag all this away and just have this C note going along. Okay, let's just say this. I'm gonna color this so and that's slightly different. Okay? The same thing happens is before Well, we have to dio going compressor for I get in here looking this button, click inside chain and choose the one that every names side chain a fresh hole down on that so low that soak unjust here. Really? Here, this pulsing. Even if you put the volume died of the kick, it will still side chain. Oh, I thought this is great for synth parts or baselines. Could really get that pump in sang that we're getting a lot of electronic dance music. Let's put this down Inductive. So this is with side chain. We can see it pumping here. This is what I ah say we don't want the kick muted. Activate it again. Here. Let's just solo the kick with this base part. Hold down Command to solo both. And we can hear that when the kick place based room is not playing. This gives us much more of a kind of pulsating dancey feel that we're getting a lot of electronic music. So this is basically how we side chain ableto really simple. Basically, Just bang on the compressor, set the side shade and make sure you side chain it to a ghost track. It doesn't have to be 44 We can change this to any ribbon we want. I'm just gonna drag this so it's double speed on. Let's hear if we can hear the side chain change. It's quite hard to hear. Ah, let's just go back to the effect waken sit here that it's pulsating a lot quicker. That was before just arrived. This back. Ah, in here and I just going to use one more example of a synthesizer just so we can really hear this side chain, so I just created a new media track shift. Command T on. Let's go on instruments, Get rid of kick. That's choose. Operator. I'm just going to copy this over but had phone on so can hear radio. No, not the best part of the world, but for this example, it be fine. So let's go back to this view here. Or do you effect up to compress a dragon compressor? Expand compressor input from side chain which is the ghost track which is this kick side chain Wear a lot clearer here. See it pulsating. Like I said before, we changed the length of the side chain can hear it change. You can do kind of halftime pulsating feel liken dio four to the floor pulsating feel or maybe even double time so that have to use the same four to the floor side train. If we don't want to, we can completely change it Thistles Basically, how we side chain a pad or baseline or keyboard parts in able to life we 3. Resampling: Hi. In this lecture we're going to have a look at re sampling. Re sampling is basically where we can record something and then use it again. So it's really simple student ableto we just have to select what we actually want to sample . So right now I just want to sample just this plastic carp. Andi, let's sample this side chain based that I just created also. So I've got the ghost track soloed. I've got their simp soloed and I've got there based soloed. So all we have to do is create a new audio track or just use one that's free and then just change this order from instead of external in. We could just go down to a re sampling on this will basically record anything that's coming through the master track as we just got these free instruments soloed. It's just going to re sample these. So this is what it sounds like. I actually don't want this kick, So load so unsocial this on. Just have this plastic cup on this base part. So it's just gonna sound like this we have to do is arm resembling. You're noticed The squares turned circles just hit this button. That's all the once. Now, if we solo this, let's copy this over to the arrangement view. And here we can just go through slice the Ferrari move stuff about so it doesn't necessarily have to be exactly the same what we just did. We can really just kind of message about it and just move stuff for everyone. So it was a kind of weird, glitchy Elektronik sound you could sample in, say, a vocal. Then just chop it up and move around. Maybe a vocal and apart at the same time doesn't necessarily have to be just one instrument or load of different shipments. So get something about this, assuming it even further messes up even more. Let's try. Okay, No idea what it's gonna sound like. Might sound interested. Never know. So I just hit commanded l to lose it. Always add effects to this way. Could really make another instrument or never sound of this. Just toe. Make a lot more facts and make some interest in sounds. So we go back to the session view. Let's just drug This time. This sounds a lot different to the synth on the bass part that we use previously. So this is what we sampled turned it into this. We can really change our sounds just by re sampling certain audios or multiple audios, then shopping. Get what? Moving it around and adding on effects. 4. Send and Return Tracks: Hi. This next lecture is all about setting up send on return trucks. So this is where we basically send our tracks to another track on this track can have some sort of effect. Um, and this allows us to actually have more than one track having the same exact effect. This is great for time based effects like reverb and delay. And it's also great for saving our computer power. So, for example, say we had a reverb unit on each one of these tracks, it might slow down our computer quite a bit. But if you send each of these tracks too this track here, that a reverb, then all these tracks will use the same type of reverb and also save a lot of computer power. We can adjust the amount of reverb, or they might we send this track to the send with these dials here. So the presets is reverb for a turn. Track a on delay full return track. Baby, We could also create another return track by going on crate and then insert return track or the key command Ault Command T. This will create a new return track. This one hasn't actually got any effects yet, so I'm going to try. Let's try overdrive than this will be really obvious. Some of these instruments might be quite hard to hear with a river, but the moment, for example, this pad quite a wet sounding instrument already. But if we send this to our return that has overdrive on would definitely be able to hear this. Another great thing is we can actually automate our return track. So if we go to the arrangement view, we can expand our return track here on when we and set on effecting This could all be automated also. So here's overdrive just going to drag it to sea return and then I'm going to send this part to it. Let's just say this. Obviously this has over. Driver Way could play this plastic art with every drive on with fact Sunday as reverb on Send be as a delay. Let's just go to the arrangement view and expand this here. Then we're going to click on this overdrive, and here we can automate this. So I'm just going to copy over this clip plastic cup and to hear and hit this button, which is back to arrangement button, track this lead pipe and say we've recorded to the arrangement. We could automate this send if we wanted to. Also moment it's set to device on. I want this as mixer and see overdrive so I could increase this. You'll notice that there isn't actually any sound. That's because we haven't sent it on the arrangement view. If we increase this here, this is the sense Let's just send if this one be delay then we can send this so we can hear the delay also. Well said the reverb This sends the amount of reverb. We've also got a died on here we can adjust our send effects going on here Reverb. So, for example, I want this a lot larger. We can increase the room size waken also so low this river and you can hear instantly That's lows A river. So the delay Let's just priest the feedback of this on Now it can hear obviously DeLay has been sent. Waken, turn this delay down here Feedback is still on and increase the delay. Yeah, at the moment we're just hearing the effects off the overdrive DeLay on the reverb. Let's just hear this in the mix. Courses can all be automated, dry, wet. If the wet is up all the way, that is just the effects. So that's none of the original track. So for sends on buses, really, we want really just the wet effect or it just ADM or the dry Signal. So basically, just make our track louder rather than adding on effects. That's basically how we can send our effects to a return track. So let's go back to the session view. So we send our tracks to these return tracks on on these return tracks. We have certain effects. We can go through and delete effects. We don't necessarily have to have this as reverb weaken. Rename. This is, say, for example, fazer. If he wanted to put on the phase on here, it doesn't have to be time based effects. That reverb with delays could be any effect to wonder. Really? So thank you for watching this lecture, and I'll see you in the next one 5. MIDI Effects Intro: Hi. Now we're going to have a look at MIDI effects, so if we click on media effects here, you will see we have these different media effects are pejeta cord midi effects rack note length pitch, random scale on velocity. I'm going to go through how you can actually use these. If we go on audio effects, you'll notice there are quite a lot more. The main difference between MIDI effects on audio effects is MIDI effects. Go on before the synthesizer Andi. Audio effects go on after this emphasizes. So I've got a MIDI keyboard here for player notes. We can see the media information going in. The reason we can't hear in a thin is because we need a synthesizer to basically transform this media information into sound. So I'm just going to get synthesizing now That's grab analog, and now you can hear a sound. And if I bang on, say an arpeggio later, we need to put up before the instrument. This is me just holding one note down, and if we try and put this on after, it won't actually let us do it. And if we grab on audio effect, let's try amp. thats has to be on after. If we try and do it before it won't actually letters, and it says down here and sit audio effect after instrument. So the main difference is the MIDI effect actually transforms this meaty information. So impressing this note down now theme, any information is making it repeats. So that's what Midi effects basically do. They transform the MIDI data before it goes to the instruments, and because of this, there's only so many ways we can actually transform. The data for audio effects is lows of ways we can actually change the audio, but before the audio actually goes in, it's the MIDI effects. 6. MIDI Effects: Velocity : Hi. This next lecture is all about the Midi effect velocity. So velocity is basically how hard or how soft we hit the notes. It can go from zero, which is no velocity or off on all the way up to 127 which is maximum media velocity. So we have all these different things here. Just going to play this leap, have out high, which will only play the soft of lost ease I would load, which would just play the heart of a lost ease. Delete these by hitting backspace have drive as well, which will ship change the shape of our velocities. Have a random random is a great one because if you recording in midi information that's meant to sound like a real player on your looping this it's not always going to sounds exactly the same every single time. If it is a real player like a piano player, for example, so random can add a kind of random velocity onto amity information, which actually makes some more realistic because the velocities will not be perfect every single time if it's a real person playing an instrument. So for instruments like a piano or live strings, for example, you could put a bit of a random on. This gray fuzz is basically the range of the random. So if you haven't really high the beer, a lot of velocities or really smaller, just be a few more random for lost e fluctuations. This is basically how we can use the velocity midi effect. So these are there many effects that go before the instrument. Then the instrument turns this into a syringe, and after this, we can add on audio effects. Next, we're going to have a look at audio effects. 7. MIDI Effects: Scale: Okay, and now we've got scale. Let's drag on scale. And this is basically the notes are intended. The notes that place, if you have a push or push to this, might look a lot more familiar to you. But if not, it can look a bit confusing. But basically we can change part of the scale. The base is the root note so we can have the root note Starting on C. We can transpose this. Also waken basically just change all these notes around. So whatever is meant to be there could work out, which is this note, which is on a so every time it plays in a. It's actually going to play this note instead. That's where it back completely changes our scale so we can just tap these and move this around randomly if we want completely changed this. Remember, the diagonal is what you played initially, so you can always click these back. The presets are quite called on scale Alter's scale. Let's hear this. That sounds quite interesting. We have different modes that Dorian mode, so you can quickly create modes on the fly, really, just by throwing a few notes around ammonia is basically a sort of scale, but we don't use the same starting night. We might use a different starting that. So a C major scale. But starting on a D, for example, is a d Dorian mode. So I have some quite interesting ones, like this Hungarian Gypsy scale. Normally, I wouldn't be able to play in the Hungarian Gypsy scale because I don't actually know Hungarian Gypsy scale. So let's hear this one weaken. Delete these ones as well. Let's just hear the Hungarian Gypsy scale so we can completely change our sound and add some interesting effects to say You've made a nice chord progression from one of these scales and completely change it around. So it's good for giving yourself new ideas. And creating new sounding music is normally, for example, like the Hungarian Gypsy scale. I wouldn't right like that normally, because I'm not used to Hungarian gypsy music. It's not my specialty, Andi. I wouldn't really know where the notes going for Hungarian Gypsy scale, but you throw in scale. It would just automatically change it for us 8. MIDI Effects: Random: Okay, Next we've got random. So all we need to do is drag random in before the instruments. I'm just going to record a little bit of MIDI data as well. Okay, let's just play this back and turn random on. Theo. Chance is basically the percentage of it not staying at the root key, which is the zero and switching above or below. So if we put the chance on zero is going to play back Exactly what I played, I put the chance above is going toe only play. Now it's above. We have add sub or by Adul AB notes above Sobel. Add notes below, by or both. We also have this choices. This basically gives us a larger range to randomize from and scale, so choices will just basically give us more random notes and scale will increase the scale of random notes. This could be quite interesting toe have in a song, for example, you could have a nice standard sounding piano parts, and then it slowly gets mawr wacky and random and strange just by automating or turning on the random so we could automate this chance here, slowed it, gets more crazy and crazy and then goes back to normal 9. MIDI Effects: Pitch: next is pitch. So this is really simple. It pictures all of your media information. This could be automated also or we could even map it onto our MIDI controller. So let's just hit, command them, double click the pitch and then I'm going to move this style. Here I am again so you can create some experimental stuff of this. If you wish, we could also use it in the automation. So I'm just going to drive this on here to rock the site and then we can automate pitch. So it's always set up here, pitch on a pitch up, then down and then look again. So this is how we can use the pitch midi effect for our music and also for life performance . 10. MIDI Effects: Length: Okay, Next we've got note length. So let's drag this before our instrument or alternatively, weaken. Just double click on it. So note left basically just changes the length off the note. So I'm just going to record in some MIDI here. The note left actually changed the note before I played them. So let's go back to hear Did hold some along the notes here as well. We couldn't hear that back because of the note them. So let's just go back to this here and then play it back way have sink. But we have time. We contend the note Often. We've got a few more options here. I normally just use the note on time. I also have a gates. The basics of the note limp is just the length on the time eyes going to record in another bit of data on disarm this some of the wholesome courts now. Okay, have a look at this. You can see these cords here. Kwan ties these just in case and go back to this menu here. This could be good for, like a stab e piano part. We could drag it out and then bring it back you could assign this length toe are midi control. Also, someone hit command and click the left button and move this style here now hit command them . See the left are moving. So for life we could do this and switch this dial. It's quite simple, one length that it can be quite good for adding in a few intricate parts for live performance saves you going through and actually dragging, collecting all the media information. 11. MIDI Effects Rack: Okay, Now we're going to have a look at the MIDI effects rack, so let's click on many effects. Go down to midi effects rack, so this is quite similar to other effects rack. It basically creates this bracket where we can drag in other MIDI effects. So that's draggin on our pejeta. And then we can open this up and drag in another MIDI effect into this chain here. So the drag in court, then this is quite similar to the effects racks we had before Sochi. So basically, if I hit this note here, it will play on R. P J. Let's just set the called up so the cord isn't actually set up yet. So I'm just going Teoh this upper 12. So this is arpeggio. This is called, So this is great for live. If you've got section where you just want the cord could have a cord and then back to arpeggio Really easy. So instead of searching through all the different Simpson clicking on their instrument, you can just pressing on the keyboard on if you planned it well in advance, you know which is the right one. Let's go to velocity. So I'm just gonna put these keys back on all. And of course, we can cross fade these as well. Let's go to velocity. So basically, if I hit it hard is going to play Chain One, Which is there, Peggy, I can rename this. So I'm just gonna rename this artist's overnight, This one rename commander. Good. So if I play it soft, notice it would be a court play hard arpeggio and then we have chain. So I've got a MIDI controller here. This is my oxygen 25 or we have to do is hit command them and then of style here. So I'm gonna click on this, move my dial on, then command em again. And whenever I move this dialogue, you can see up here it moves the chain as well. So let's move these little tiny boxes. So basically, if it's towards the top, it will be a cord. I'm also going to use his cross fade that okay me of the saver and cross fade as well. So when my midi controller, when it switches at the bottom is going to be an arpeggio and when you switch up towards the top is going to be a cord, and then m between here, gonna cross fade it so I could just quickly switch between the two, or I could fade between them. But we do need to go back and change the velocities. Let's put them both from here. Check the keys. Yep. Okay. And now, now this is playing in court. Let's play this midi information here. 60 va. Have this playing on a loop and switch between the different effects, or you could physically played him. So this is basically midi effects rack. It's similar to the of Iraq's, where we have a key of velocity on a kind of assign double chain. 12. MIDI Effects: Chord: Okay, Now we're going to have a look at the court effect so similar to our Pejeta. We drag it before the instruments and it looks quite blanket the moments. I'm just going to change this media information to just one single note. Someone delete these ones and said, Now we've just got this G. Let's go back to the call effect. This will just play on a loop. Now we can add on seventh. So if we count on our MIDI keyboard 1/7 from a J. 1234567 is a day. So this is a perfect fifth and say we want to add on 1/3. That's at five so we can create cords out of this. We also have presets here. We have different types of calls, like 1/5 chord, Jazz for Dummies. Major chord. Major Tom, Mine of Tim, whoever he is. Okay, so we have low two different ones become buildup. We can just drag up. Remember, 12 semi tones is knocked. If seven is 1/5 let's try night. Let's hear what this sounds like, So the cord is quite simple. We could just delete these two, get rid of them. But if your music theory isn't too good a really good way, it's just get singler notes. And then just drag some of these presets, some that maybe you could even tweak the presets a little bit on to hear what this minor Tim subs like Let's hear this. Okay, sounds pretty cool and that we could go up and change this note to say, a day. Let's see what this sounds like. So this is a good way of actually experimenting and finding new ideas, because you might have now, or I might have not been able to think of that straight off the bat of my thought of a few of a familiar patterns allergies. But this cord function allows you to choose from different chords. Let's just have a look at this jazz for dummies. That's it's and this one off case you can get some interesting cause just from these single notes, you can always go in and tweak. These would have to leave them as they are, so I'm gonna put this furred up to ah, 15. Sounds quite dissident, but we can create some interest in sounds just from these really. So that's basically cord midi effect 13. MIDI Effects: Arpeggiator: Okay, So the first Midi effect we're going to have a look at is the arpeggio data. This is probably the most common MIDI effect. And if you listen to a lot of electronic music, you're probably going to be hearing this quite a lot. Well, we have to do is drag it before the instruments. We do have certain presets here, so we've got different types of arpeggio data presets. But let's have a look at the default one. What's in our pejeta basically does. It's just plays a group of notes one at a time. Now I'm going to play two notes and it's going to go between the two notes. I'm just holding these two notes. So let's actually record in. These just gonna hold these notes. Okay, let's have a look at this money information. It's literally just these two notes, so I'm just going to drag it to here. So it's just a one bar loop on draft. This sleepover that's just quantities this command you just to make sure you can see here. It's going between the two notes, so if we draw in another note, this sea goes between the free notes on if we draw in and of one this jay, it goes between the four notes. So let's go back to the arpeggio later. We can change a few different things here. We can change. The rates at the moment is going between the notes at a rate off 1/8. Notes. Let's change this to 1 32nd notes. So this would be really fast 1 12 We also have steps. This will increase the distance that we can Actually, our page eight, you hear if we have this above five, it just goes really, really, really high. We have transposed as well, so we major minor, just quite interested. Let's leave this on shift and offset as well. We also have style here, So the moment goes from the lowest to the highest we can have it, so it goes from the highest to the lowest. It was a few over once we can have we can have random as well groove as well. So could swing it so we can really create some weird and random effects of this. That's basically how we use the arpeggio later 14. Audio Effects: Simple Delay: Hi. This lecture is all about the simple delay. So we have to do is find it in our audio effects and drag it to our audio instruments, and it will appear here. The reason it's called a simple delay is because it's a delay, and it's simple looking at the delay. Here we have all these different numbers. 1234568 and 16. This is how many 16th notes. It will be in delay, so one will be 1/16 note to will be to 16th notes free, be free 16th notes, etcetera up to 16 16th notes, then we haven't left and the right so we can have independent left and right delay. Come and get on my left and right headphones or speakers or we can link them together by their Both use the same type of delay. So let's just click on the left one. I'm just going to play this now. I'm gonna put the wet all the way up, so all we can hear is the delay, and slowly bring it down so we can hear it in the mix. With this loop here, I've just dragged in. You can hear. Now that left and the right delays both different. I'm gonna blend in some of the original track change this one to here and here. This is the dry signal, The wet signal on the blend of the suit. So we can even sink my percent or weaken sync by time by hitting this button time. We also have this feedback knob here. So feedback basically feeds the delay back into itself around around again. Can't actually but another 195 the highest weaken get because if we put it on the 100 the delay will get louder and louder every time on Eventually, it could even blow your speakers. If you leave on for too long. I'm just gonna put feedback on full. And then I'm going to press pause. The delay will still keep on going, but gradually go down and down and down. So the delay is playing now just hit balls and it's still feeding back. But it is gradually gets in quiet as you can hear. So this might be good for some experimental stuff. If you want more organic sounding instruments were alive. Drum kit probably would not have the feedback on that high. What I like to do with time based effects, though, is to actually not have, um of the investment is toe have them on the return track. Able to actually comes with Return track A, which has a reverb already loaded on. I'm return track B, which has a simple delay already loaded on. You can just control these with our sends here on this will send to our delay right now. You might notice our track has actually got louder this because we have a dry and wet balance. Because we're sending this to the return track, is also sending the original volume making it louder. So for return tracks, make sure the wet is on 100% on there. Now return track with just be delay. This is the delay on the original single waken Turn it down here. So we get less of the delay on more of the delay. So this is basically how we can use the simple delay. I'm gonna talk about the ping Pong delay next, which is very similar to the simple delay, but has one major difference 15. Audio Effects: Ping Pong Delay: Okay. Now let's have a look at the Ping Pong delay. Some actually going to drag this on return track be because it is a time based effect. Do generally think time based effects are better on the return tracks because it will save on CPU. So say, for example, we've got 20 different audio tracks on you. Want reverb on all of them, or delay in all of them. We can actually send them to a delay unit or a reverb unit, rather than having separate effects on separate instruments, which could use up a lot of our CPU or computer power. And also it does mean we get the same effect for every single one. So it does actually match up a lot better as well. So we've got this loop here. Send this just returned track be. Let's put the wet all way up, You'll notice is quite similar to the simple delay. We have 12 16 which chooses how many 16th notes we're going to delay. We've got the feedback which feeds it back in how much of that we want to do. We can swap between sink or time, but then we've got this here. This is a filter just for the delay. Let's put the wets all the way up and solo the return track. So this is just the delay. So we have control of the effects of the filter so we can create a high pass which just allows the highs fruit or a low pass. I was just allows the lows through or about us waken Really just edit this. If we listen to the dry signal, this'll hasn't been effective. It's only the delay that this actually adds this filter on, which can be really useful. So that's basically a ping pong delay in ableto life. 16. Audio Effects: Reverb: Hi. Now we're going to talk about reverb, so when we hear a sound, we don't just hear that sound. We're here. The sound off the thing that's triggering the sounds. So, for example, me talking now and then you also hear the sound of the room that someone is speaking or the interest mint or the noise or the sound that's actually coming from. So if we're in a big cathedral, for example, we're hear the sound of the person speaking or singing in there. And we'll also hear the sound off the sound waves bouncing off the walls, and we hear that as well. So that's basically the river. It's a sound of the room. So if with a huge cathedral or glass building or concrete floor outside the sandals, I'm very different. Then. If we're in a small room of those of felt on the wall, different material does reflect sound differently. So if you ever go to a mix of room or recording studio, you'll notice these kind of foam things on the wall. These are actually designed to do all the sounds that don't reflect as much so sound doesn't bounce around as much. Some studios as well have big, heavy curtains on the side. This is toe stop. The sound reflecting so much as well to the river is really the reverberated sound. We can create a room sound or reverberate sound with the effect or the river. Looking at the reverb units in able to endure noticed a few things. We have the dry and the wet. This is actually on return track A. So you wanna have the wet all way up? Because if we send this or bust this to return track A, we don't want to be sending the original volume. We just want to be hearing the reverb, so make sure the wept is all the way up. Then we have the input processing so we can put a local or high cut on this. Let's just say this. So let's bust this over or send us over. This is about high cuts that's cutting out a lot of the high frequencies or low cut. This is cutting out a lot of the low frequencies. We can create kind of a band cut so we can create a filter. Then we have early reflections, So the early reflection is the first bounces back off even the closest walls or the floor. So it's not really the big, echoey sound. It's kind of the smaller sounds that come back first. Then we have global. You have the different settings here. So basically, if your computer is struggling, I wouldn't have on High off. You're putting this on lows of different channels. I won't have this on high. You've just got one reverb and you're sending a couple of tracks to this. You could have high. Then we have diffusion. So this is the decay time. Then we have the size of the room so we could have a bigger room, a smaller room. We also have this freeze function here, which basically it just holds onto the ringing sound off whatever is hit. So this could be quite good for experimental music but wouldn't really use this form or organic sounding instruments. So this is just holding on to the river and click off holding on to that rehab ever again. Then we have chorus as well, but this is the basics of the reverb. We have the filter. If you want a add a filter before we process it then we have the early reflections, the size of the room that decay time on the dry and the wet. And that's pretty much the basics off a reverb like is that it is best to have this on the return truck, especially if you're using big projects and you want to have them have the same river ready , especially for live sounding instruments like you're trying to simulate an orchestra or a sound performed in the room. You want to have the instruments sound like that actually performed in the same room, and the best way to do this is to actually bus or send all the instrument to the same reverb. But go through an experiment with this. Try to different sizes, try a different decay times. Try the filters on just test by eerily, I don't normally like toe have too much reverb. I'd rather have a small about. You can overdo by having too much revert up. I would probably have it about their fears. Their for instance, it's just too much so, but it depends on personal taste. It depends on what you're trying to achieve. I do think less is more with river 17. Audio Effects: 3 Band EQ: Okay, let's have a look at the e key free. So let's just direct this on onto our audio instrument. And here we basically have free bands. We have the low, we have the mid on. We have the high. So I'm just going to play this loop. Now Let's cut out the low, put their back again because in the mid and protect the high, the main use for this, I would say, would be for live performance. So say you're performing live of ableto life. If you quickly cut out the high, then blasted back in, cut out the low, gradually build it back up, put out the mid the mid Maybe not so much, but the low and the high. A lot of electronic music. You hear this sound very often. You can assign this to a knob on your MIDI controller so you could just twist another that blast that the higher and slowly build it back in. But for actual mixing, are probably wouldn't use this. I'd used a band eq you, but for live, this could be really useful. You can even assign these buttons here, so just clicks them out quickly, bangs the night puts them back in. So you hear that sound a lot and really any kind of live electronic music That's basically the three band EQ you just amid low and a high. We're going to have a look at the A band next, which is more something he might use when you actually mixing your music in able to life. 18. Audio Effects: 8 Band EQ : Okay, Now we're going to have a look at their eight band EQ you. So let's just direct. Listen, you might think eight band. I can only actually see four. So these are our bands here. We can adjust them, and these basically control their frequency. So I'm just going to play this loop. You can hear that. This cuts out the high on boost the high. We do actually have a band's weaken. Switch them on here. I'm going to start off with just four so we could boost certain parts at this or cut certain parts. You also have separate controls for each one so you can choose the frequency here we can add for dip again. Thank you as well, which, if we increase it up, you will make more of a tighter point or longer points. You can make it tighter or wider. So if there's a certain frequency that we don't like, we could find it just the que se here and just get rid of it completely off. There's a certain frequency we want to boost. You could boost it like so we have different shapes here also, so we have a low pass or high pass. Let's just switch these off and just work with this 1st 1 So there's a low pass here. So there's a high pass which basically cooks at the lows, allows the highest that we have low pass, set some of the highs and allows the lows and over shapes. Also, let's turn these back home and click this one There we go back to here. So that's basically an eight band EQ You if we hit this button here, open up in this larger window. So this is basically the IT band EQ. You has a lot more going on in the free band EQ you. But the three band EQ you, I would say, is mainly for, like, performance for this eight band we can actually use to e que on mix our instruments. 19. Audio Effects: Compressor: Okay, Now we're going to have a look at the compressor. Let's track this over. A compressor basically just makes the quiet louder and the louder quieter. We actually have a few different views off the compressor in a Bolton. We have this view here, this one, which is kind of the classic view off the compressor on this view. Here, let's go to the Classic one first of all, and we have a few different things here. We have g r, which is gained reduction, and we have the fresh old on the right is basically the loud stuff on on the left is basically the quiet stuff. If this is completely straight, it will not actually compress it all. And if we put it like this, it will compress absolutely loads. So let's just hear the loop. So this is barely applying any compression. You can tell because game reduction isn't actually doing this thing. Move it down. We can see the gain reduction, put the volume down a little bit, and then if a move over like this became reduction is absolutely crazy, and you probably wouldn't want to do this. You do want quite a bit off dynamics in your music, so I probably would not ever do that with no advisor Eva. But something like this might be quite good was a small of amount of gain reduction. So it's basically just making the loud bits a bit quiet on the quite bits of it. Louder. Usually here can change the fresh hold. You can edit the fresh hold as well. So this if the fresh holds all the way down, we'll just compressed like crazy. If it's a lot higher, it will compress a lot less. Let's have a look at another mode. This is quite an interesting mom. The light grey. Here is our signal. The blue here is our fresh hold, so we contract this down. You can see on the orange. Here is the gain reduction. So if we increase the fresh hold, you'll notice that the game reduction in orange it's a lot tighter and smaller. And if we drop the fresh hold all the way down, the gain reduction will be a lot bigger, and we could look at this as well. This is the simplest way, but the fresh hold down, they conceded. Game reduction increase on. There's the output. We also have this here we have a dry on a wet so you can blend the UN compressed signal with the compressed signal. Also, if we reduce the attack, it means the compression will respond faster. The release is the sound going back up again. So have a play around with the attack, the release, the ratio, the fresh hold as well, and just try and get a good sign. But remember, you do want dynamics. New music don't just compress the heck out of everything, or you will lose a lot of that kind of human element of a lot of that dynamic range that you really want to your music. So just add a small amount of compression. I would say Don't just go crazy and put compression left, right and center because you will lose a lot of the kind of feeling and flavor of your music. 20. Audio Effects: Limiter: next is the limiter last drag this over and this is actually quite similar to a compressor . The limiter basically stops the audio, going past the top off the ceiling so we can set the ceiling point. So if you move this down or up, basically stop our sound. Going past a certain point, this thistle bits of orange. Here is what has been limited. If we put the ceiling ridiculously high like that, basically it's going to cut off. Limiters can be used for for instruments that might go a little bit wild in not sure about the volume levels like a distorted guitar, for instance. We also have a game dial here where we can reduce on boost the game, and that's basically it, really. It stops the instrument going past of certain volume. 21. Audio Effects: Tuner: Hi. This next lecture is all about the tuna. So let's drag this tuner onto our investments. So one main use we can use for the tuna is to actually tune different interest mints. So here I've got a guitar that's just monitor this. You can see here that the season to let's go to the A A is a bit flat and now, since June. So basically, when it's green isn't true, Yellow is almost in tune orange further away, Red is completely attitude. Obviously we can use the tuna for tuning. Let's turn off this mother's air here. I have also just recorded my voice in I'd like to say purposely afternoon, but it wasn't just singing a note, and we can use the tuna toe actually find a certain part, Or maybe the whole sample just picture either up or down with the do tune future here. So let's just play this and then go to the tuna. Here. You can see it's about that there is about minus minus 25 so if we just go to their detoured here, just add on 25 then go back to the tuna. See, it's more or less and to now, obviously it still fluctuating. But that's quite natural for any kind of voice, so we can just easily drag in samples and use the D tuner to actually put it into. So this is basically how we can use the tuna, even for tuning instruments like guitar or a base or ah, heart, for example, or for finding out audio samples pitch on, then re pitching them slightly with the D tune feature.