The Rapper's Guide To Ableton Live | Professor SentZ | Skillshare

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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

8 Lessons (43m)
    • 1. 00 Intro

      1:05
    • 2. 01 What You Need

      4:42
    • 3. 02 Setup

      5:13
    • 4. 03 Test Vocals

      6:25
    • 5. 04 Recording a Verse

      8:56
    • 6. 05 Editing

      9:52
    • 7. 06 Bouncing

      5:46
    • 8. 07 Outro

      1:05
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About This Class

If you're an artist nowadays, you need a way to record your ideas at home. Ableton Live is the perfect tool because you can make beats, record vocals, mix, and  perform your music within one program. This course will go over my favorite part of the process, recording your verses. 

Unlike most recording courses, this curriculum is written for rappers. Our process is unique, and there's small tips that I wish someone would've told me when I tracked my first bedroom recording in the early 2000s.

Key Topics Include:

Setting up hardware, software, and system preferences
Different approaches to writing
File management
Keyboard shortcuts
Leveling
Maintaining vibe
Mic Technique
Warmup Techniques
Recording in Live
Editing your vocals
Mix Prep
Lot's more 

Meet Your Teacher

Teacher Profile Image

Professor SentZ

Your musical side is your best side..

Teacher

With over 15 years of experience with production and DJing, Cliff "Professor SentZ" Callender has worked with everyone from Run the Jewels to Smoke DZA. A former Dubspot instructor and author, SentZ prefers a no-nonsense approach to teaching, so you can learn quickly and spend more time being creative.

See full profile

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Transcripts

1. 00 Intro: What's up? My name is $0.06 and welcome to the rappers guy to Ableton Live. I wrote this course for rappers that are new to recording and are looking for a cost efficient and DAW that can do everything. So why do I use Ableton and why do I recommend able to answer artists? It's the one piece of software that I've used in making music that can handle pretty much all the aspects of the process for making beats, to recording, to mixing and mastering. You can even use it on stage as a live performance or deejaying tool. So if you learn it and you draw with it as an artist, it allows you to do things that other artists can't do. By the end of this course, you're going to understand how to record a full song using the DAW. And you'll also learn how to prepare your session for a professional mix, you'll get introduced to some of lives best time savers, including keyboard shortcuts. And at the end of it all you'll actually be recording averse and submitting it for review. I even have some production you can use in case you need some beets. I don't want to waste time. We've got a lot to cover. So let's get into things. 2. 01 What You Need: So before we talk about what you need for the course, let me be clear that this is not an excuse for you to buy gear. There's a very good chance that you have some love. Now all of the things you need to record your vs. already. But let's go over exactly what that looks like. First things first you need a computer. Odds are if you have a computer that's from the past couple of years, it's probably good enough to do basic recording or a two-track instrumental. You can always check out the minimum specs for live. I'm going to link to those as a general rule of thumb. I think anything above eight gigs RAM should be okay. Contexts will be recording all of the vocals in this course using a MacBook Air M1 with 16 gigs of RAM. And other thing I'm going to need as an audio interface. And this is pretty important. Luckily the cheaper and they're better quality than they've ever been. You don't have to spend a lot of money to get a good audio interface for recording or a decent one for recording. The main thing I want you to look out for if you have to buy a new one, is direct monitoring, clean inputs and phantom power. Some of my favorite brands include focus, right? Have a focus for a first i'm, I'm, I'm bigger projects. Apogee. I'm using an apogee duet for this recording, and I use that primarily from my vocal recording. I like you a interfaces a lot. And I liked the new SSL interfaces a lot too. They all come in different budgets and price ranges. Again, if you have a decent interface now, this is not a reason to go buy another one. Those are some that I like when it comes down to looking for new options for an interface. Now you're also going to need a microphone. Obviously, if you haven't already used the one that you have for this course, if you don't, I've linked to a guide that might get you in the right direction. I'm using the Slate Digital M1 for the course. It's a microphone that emulates a lot of the top tier Studio makes her vocal recording without spending too much money on it. You also need a pop filter and some cables. I'm not going to be using a pop filter for the recordings here just because I'm gonna be able to see you a bit better. But when you're doing your own vocal recording, instead of using a windscreen like I'm using on this mic, get yourself a pop filter, it'll stop. That was hard p sound, some weeding and see your recordings. And also get yourself a couple of microphone cables. You have only one cable, you don't have enough. You want at least two pairs of microphone cables because when you find out your mic cable eventually is broken, you're going to be in the middle of recording. Nobody finds out that there might cable is broken when they're not recording. So when you're in that moment when it happens, you want to have a backup available and ready to go. You don't want to have to go to the store and get a new one to order a new one, and then had that whole session go to waste. So have at least two might cables always have backup USB cables, all of that good stuff. And finally, you're also going to need a pair of headphones. These are the D T7 70s, and I'm just a fan of them because I'm used to them. The main thing you want to look out for headphones that are over the ear, that don't bleed too much into your microphone. That doesn't have to be super expensive. You probably have an over the ear headphones you can use now. And as long as you don't turn up your volume too much, that should be enough to prevent it from bleeding into your microphone and making things harder to mix. So let's talk about software. The main thing you're going to need is a copy of Ableton Live. And if you don't have a version of a live already, you can actually get a version of live with light for a very, very cheap, it comes bundled with a lot of pieces of hardware. But if for whatever reason it didn't come when you boil your interface or your microphone. There's a really cool sampler, software sampler out for phones called Koala sampler. I use it when I'm making beats. Now one of the cool things about it is that it comes with a license for live light. And the app itself is only a couple of bucks. So you can get this cool app and even if you never use it, it's enough to get you an access to live life and that lets you record export. You can do a whole full session without breaking the bank on Ableton Live, I will link to koala sampler. And if you're into starting to make beats, it's a great way to start to. So it's a really a two for one when the only other piece of software I'd recommend is some type of BPM detection software. There's a lot of free apps available you can get for your phone, for your computer. Also, if you are a fan of deejaying, you can get a piece of DJ software and that'll be able to read your BPM to the DJ AB, I believe as a free version that you can use your drag and your B, and that'll give you your tempo. I use Serrano, same deal whenever I get an instrumental and I don't know that template to it and drag it into Serrano. That gives me my tempo. And then I set my session to that tempo going forward. The other thing you're going to need, beats. Hopefully you have your own, but I've set up a playlist for everyone who is taking this course to use for practicing writing songs free of charge. 3. 02 Setup: Okay, Let's talk about the preferences we want to set up for our sessions. I'm going to load up the preferences by hitting Command comma. And I'm going to go to the Audio tab. Well, before I even do that, I'm going to go to the look and feel tab. And the section is pretty cool. You can pick a bunch of different themes for live. I like the mid dark theme, personal labor. You got a lot to choose from. You can also change the zoom of your display. So if you've got a big TV or a small monitor, whatever you can fit things as you need, as really, really handy for, especially when you're recording far away from the screen. But for our recordings, a lot of what we need to set up as in the Audio tab. The Audio tab is where we're going to dictate a few important things. The most important is where we're setting up our inputs and outputs from. So the audio input device and audio output device refers to where your microphone is plugged into and we're, the audio gets routed out from, I'm using an apogee duet. So I want the duet to be my input device. That's where the microphone goes, and I want it to be the output device. So let's go ahead and switch that for the sake of this recording, something else you can do, especially if you have an audio interface that has like a lot of inputs and outputs, go into your input configuration. And if you had like 10 inputs here, you can disable the ones that you're not using. And you want to do that because you have these things active, even if you're not using them, they're going to take some of your computer power. So something to think about if you're using an interface that has more than two inputs. The other thing we wanna talk about is latency. So latency down here is referring to our buffer size. The buffer size dictates how much delay we're going to hear between talking into the microphone and hearing it do effects and back into our ears. A large buffer makes it almost impossible to record and monetary or so forth in the software. Now, if you have direct monitoring on your interface, that means you can hear yourself as soon as you speak into the mic, you get a copy of the audio signal from the mic straight back to your headphones from the interface. But a lot of times you want to monitor in Ableton software. For example, if you want to use AUTO-TUNE, you need your voice to go into the mike, into Ableton process, and then back out through your audio interface and into your headphones. And this buffer size dictates how fast your voice can go through, able to process and then come back out. So for using something again like Auto-Tune, you need it to be really, really quick. If you hear a delay in your voice, It's going to be really, really hard to record. So that's what we're setting up here. And these new M1 MacBooks are pretty, pretty quick. So I can usually get away with the smallest buffer size, 32 samples. And you'll see that that gives us a latency of about five milliseconds. I find that like anything under ten milliseconds is usually quick enough for you to be able to record. The only thing with this is if your computer is slow, setting this buffer size really small is going to make your computer starts to struggle to keep up. So if you set it all the way down at 32 and you start to hear hiccups and pops while you're recording, raise things up a bit. Unfortunately, that just means your computer can't keep up with what's going on. Okay, so we've set up the buffer settings that we need. We've got our inputs and outputs setup. I also want to talk about warping. So warping is this really cool thing that able to do it does it better than any piece of software. But the problem is it can be really, really aggressive if it's not what you needed to do. When we're recording vocals, we don't really need to work. For the most part, it's very rare that I have two warp things for a vocal recording session. But the problem is there's a setting and live that will take big files and automatically try to warp them when you import them. So if you load in a beat, it'll start to try to warp that beat and it may not do a great job at doing that. So we want to prevent that from happening altogether. So in this auto warp long samples section, you want to make sure this is set to off. One other thing I'll talk about really quickly for setup is this metronome and pre-roll section over here. So this is our metronome when you're making beats, it's really handy to hear your click. But more importantly, when you click this little arrow next to it, you get accountants section. And this dictates how much lead in time you get before recording starts in life. So if you have to walk away from your computer to get to your microphone and it takes a second. It might make sense to lead your count in a bit larger to something like four bars. Usually I'll keep it to one bars. And when we start to record a virtual, get to see what that looks like. But that's it when it comes down to the basic setup for live. Once you do this the first time, you won't have to do it again. But these are really, really important settings to consider. One last thing I'll also show you before I forget. If you go to Options here, you have the option of using reduce latency while monitoring. If you're having issues with monitoring, sometimes this setting can help, but it can also mess up the timing of your recording. So I only use it on systems where I really, really have to. Sometimes I'll use it for like live stream scenarios. But for the most part, I'm able to get really good buffer sizes without relying on the setting. So don't enable it unless you have to. 4. 03 Test Vocals: Okay, live is set up, so we should be good to start recording. I'm going to walk through how to record a test of vocal real quick. And you want to do that so you can make sure your levels are set well. And so you can hear what you sound like generally before recording a whole song and then finding problems down the line. If we look at this session, I have a beat for my homie Ramy loaded up in track one. And just so you can see how easy that is, you can search for things in life by hitting Command F. I have his beats important in live already, so I just searched for running. And I can just drag over a beat to the timeline and start to use it that way. You can also drag a beat from your desktop or any folder on your computer. So wherever you have your instruments are located, just drag and drop it to the appropriate track and you can start from there. Another real big point before we move further. The tempo is set to 78 bpm is you set the tempo up here in the upper left corner. I know that B is a 70 BPM beat because Rami's a good producer and he tells you, but in case you don't have the BPM for you beat, like I said, just though it into a piece of DJ software and you should be good to go, but you definitely want to set the tempo. There are certain delay tricks that require you to have the tempo set properly. And there's certain things with editing that you want to have the tempo set properly for. So let's collapse this. I need to now load up attract that we're going to record the vocal on. So let's use shortcuts. Shortcuts save you a lot of time. I'm going to hit Command T, and that's the shortcut for inserting a new audio track. You can also go to create audio track, but that's for NOOBS. So we have to set up a couple of things and make sure they're good before we can start recording. First things first. And this little selection box here. This is your input selection. Whatever inputs you have for your audio interface will show up here. My vocals go through channel one on my audio interface. So Channel 1 is selected here, and that's exactly what we want. The next thing we want to make sure it's configured properly is record enabling. So hitting this button here, let's live know that this is the track or this is the channel. Then I went to record currently. And the only other thing we want to potentially set up is the input monitor. And this depends on what kind of audio interface you have and what kind of thing you're recording. If your audio interface has direct monitoring or hardware monitoring, when you say something into the microphone, you'll be able to immediately here a feat of it into your headphones. It doesn't go into the computer. It goes straight from the microphone to the audio interface to your headphones immediately. If you have a slow computer, that's often helpful. Because again, if you route through your computer and it takes time to process, you'll hear a delay. Now, if we wanted to use something like Auto-Tune, or if we wanted to use any kind of effects that make our voice sound better while we're recording will have to enable auto. Auto says, Hey live whenever I'm recording, whenever recordings enabled on this track, I want to hear the process of vocal and my headphones. So we're gonna do that here. So now I'm going to go ahead and record a test vocal. Just the first couple of bars. When you're recording a test vocal, you're doing this so you can hear your volume. You're doing this so you can hear your tone and make adjustments. And so with that in mind, deliver the vocal exactly like you would the real recording. It doesn't make sense for you to have acid because you're not going to have fascia real recording. And so the volume is going to be different, the tone is going to be different. Treat this test like the real thing. So you can see here with the real thing sounds like and make any adjustments you need to. So let's give this to start. Recording is enabled. I'm going to hit the master record button up here and start to lay down a little bit of this verse. How people don't get funny style caught for accesses, asked for, for, for you and just serve as they said, the freedom to infinite to you a hit with that. If that data's game-changer man at Digital LCD, LEDs and his right as my future, I'm studying Congress to trap with huge scholarly easy you on as you cornea found many muscular Braille that mom was easy, easy shit honestly. So that's a couple of lines and enough for us to see how thanks. So I'm gonna hit the Tab button. And that brings me over to the other view and able to, and this is Session View. Session View is used for making beats in live performances. But it also gives you a better look at your VU meter for your tracks. And so I'm going to play things back and check where my vocals are sitting to see if I need to make any adjustments. I hit stopped twice to go to the beginning of the song. And now I'm gonna play this back. It's funny, sale contracts us to serve as a senior. So I'm pretty comfortable with where that sitting. I always try to sit vocals and live with a little bit of headroom. Head room is the space between where your loudest part is and 0? Well, the meter clipping, I tried to hit between six and 12 consistently without any effects, and that gives me room in case I say something a little bit too loud. But it's also allowed enough to get the recording heard. So we have a pretty good level. I like where the mica sitting here take this recording when you're doing a for yourself, listened to it a couple times, see if anything stands out as weird. A little quick way to quickly audition your audio. If you move your cursor to the top section of the ruler here, clicking around the numbers allows you to drag and scroll around and change the zoom. And then if you go a little bit further down, your cursor turns into a speaker, and now you can start playback from anywhere on the timeline just by clicking. Sale contracts us. Okay? So if you hear things that you don't like in terms of tone, it's a good opportunity to change your mike placement, change your stance, maybe back-up off the mic if you're getting too much, boom, get closer. If you're not getting enough volume change or might gain if you're clipping or if your vocals are too loud. This is your last shot at checking the tone before we commits are really recording, so really take advantage of it. And then we'll actually start recording this verse. 5. 04 Recording a Verse: Let's go ahead and actually start recording this verse. I'm going to do a couple of things. I'm going to rename this track by hitting Command R. And I'm just going to call it box. That's just for housekeeping. And I'm also going to load, I just hit Command F to do a search. I'm going to load up the virtual mixer act from Slate Digital. They have some things I like to record with. So I'm going to load them up and use this vocal recording preset 12, because I'm a little more volume sounds better and my air. And let's go ahead and start recording this verse. Now, back in the day, I would have a bunch of tracks from my vocal recording. So I could go from track to track and fill in bits and pieces as I need. Ableton Live 11 introduced a really amazing feature called It's really comping, but they call it take liens. And basically you can record all your takes on one track. And then you have a control of which pieces of each take you want to use. So to illustrate that, let's not even get rid of the little tests vocal that we had here. Let's just go back to the beginning of this track and record another vocal and it's going to record array on top of this test vocal. Most people would only give funny style contract, Huston, I asked her proof for you and disservice they send your release easy shit, honestly. So let's stop there. And just for shifts and giggles, let's record it one more time and a different cadence. Soccer really illustrate this point. Slightly different cadence, we'll say. Suppose all get funny style contract oxygen and asked her to fourier into service. They saying yeah, I so we have technically three Vs. We have the original one that we record it as a test. We have the first real version that I recorded, and we have this most recent version that I just recorded. Now, those are three separate takes. So if we want to view all of these takes, you can't see them by default. We're only seeing the last one that we recorded by default. We go here and right-click. We can hit Show take lanes. I'm going to force myself to use the keyboard shortcut because you should. That's how you get quick at this keyboard shortcut is Command Option you. And now I can see all three of the different takes that I did. Now live is defaulting to playing the bottom one. That's what's reflected up here in this track. But if I wanted to hear that first test vocal I did, I can just click this icon and playback on people who don't give funny cell contracts lesson. I asked her proof for you and just service. They send you the freedom to infinite to you, okay with that. And for read that data scanned change a man since a LCD. So it's cool because if you've got everything in one take, great. You have a couple of different ticks. You can audition and you can pick your best one and that's your vocal. But let's say I liked parts of my first take, parts of my second take parts. I'm at 13. You can pick and choose which parts of this averse you want live to use. So let me just go ahead and deselect this because it will still easier to see it that way. Let's say at the beginning here I like my demo version, right? Let's say I got Demo itis on that test vocal that we did. And I wanna keep the first part of it. I'm just going to highlight the first part of that vocal and hit Enter. And now live when it plays back the verse, it's going to play back this section of the verse. And when it gets to the end of this selection here, it'll go down to this section of the verse. So we did that blind. I don't know what that sounds like. Let's give it a listen on people who don't get funny sales contracts. Austin, I asked for yeah. And to serve as a senior. Now let's say I didn't like that one and I want to audition the second one. We can do that. I'm just highlight this. Hit enter into service they send you. Now let's say I wanted to go back to that top one. Can do that. And so her dreams in this service, they send your dreams and infinite so you are hit with that input. Super, super quick. You can actually get even quicker if you hit B, you turn your cursor into a pencil tool and then you can just draw in the sections that you want. So if I wanted to use that and then that, and then a little bit close, so on and so forth. We can do that. Now for this verse, I probably just use one piece, but especially if you're new to recording, it makes it really easy to get a couple of passes down and then take the highlights of all your passes. That people frowned on doing this when you're, when you're dealing with hip hop a lot. But every other genre of music is perfectly fine with comping vocals. If you go to a pop session and R&B session or soul music session, it's not uncommon to see track after track up to track a vocal comps because they're using the best pieces of the recordings to give you the best record. That's our goal here as artists is not to cater to our egos and get everything done in one take. If you can't agree. But our goal is really to make the best music possible. So if you know, you're going to do the best version of your performance by taking bits and pieces of each state. You should do that. There's absolutely nothing wrong with it to that point. I'll show you one more thing about recording averse. So we recorded the first half of this verse. There's still a lot more to go. I went at this point when a punch in and continue things and punching and alive is super, super easy. I could really open up another track and just do things that way. But I prefer to actually show you what punching looks like. So let's go ahead and hide. I take lanes for the time being. Keep this simple. Let me zoom out a little bit and I'm going to move this thing over. This is called the loop brace. And usually by default, whatever you set it to, if you enable looping and live, it'll just loop around that section. Okay, It's a really handy tool for writing, for producing, but it's also an indicator for punching in and punching out. Whenever I have a point where I wouldn't live to start recording my punchline if I set the loop brace to the beginning of that point. And that serves as an indicator of where live should start recording. So let's listen to this real quick. It's easy and honestly, I don't want lab to start recording me again array here so I can punch back into this verse. So I set the loop brace right there. And I'm also going to go up here and enable punching in. And so now live no matter where I start this playback from, it's not going to engage recording until it gets to this part here. So let me go further back. We want to enable recording, and we'll just start to record the next part of this verse. One other thing I want you to look out for when I'm recording this punch and watch where I start to wrap. A lot of times people will punch in exactly on the next word that they're trying to record. And you really want to jump in a couple of words before so you can wrap what yourself start to match the volume, match the tone. And then as you're recording, you're already in a rhythm and you sound like the original recording. Check it out. On a G. Iacoboni is Holland IBA muscular real anomalies, easy. See it honestly, prodigy set is bestest the logo when the posture, posture is performance a strong call the academy, she does a firm tragedy. Well, so if you notice lived and start the recording until we got to that punch endpoint everything beforehand is still efforts of our muscular real anomalies easy. See it honestly, prodigy said it best is to login when. So this basic back and forth is the way you want to approach recording averse. I'll go ahead and show that take lanes again just to further illustrate those. We've got, you know, averse that we come together in the beginning from a couple of different takes. We had the second half of this verse that we punched in. And I could even do the same process again, I could keep recording the second half of this averse and get a couple of different takes and then count those all together. By the time you're done, you should have a full verse, maybe a hook, some ad libs, no matter what you're adding in your song, the recording of the capturing of these vocals pretty much all follows this format. 6. 05 Editing: Cool. So I showed you how to record a verse. Now in order to get a full song done, you're just going to record the different segments, whether that's the hook, the ad lib intros, outros. You're just going to do the same process for the rest of your song. The next step of the process involves arranging things. And now we're talking about editing. A quick note on editing. If you're going to send your tracks to somebody else to mix and master, it may make sense to talk to them before you start editing your track. They may have specific rules that they want you to adhere to, or they might just prefer to edit tracks as part of their process. So check in and see what makes sense before you start diving into deep into editing your session. Now before we start editing anything, it's really important to go to File and go to Save a copy and save a copy of this session somewhere. So just in case you mess things up in your edit, you have aversion to go back to. That saves things as they were exactly up to you recorded it. The worst thing to do is to get really deep into editing a song, go back to it and realize you don't like your changes, and then you can't easily go back. So let's start navigating around and I'll show you how to edit some things. First things first, you can scroll around with your trackpad to navigate around the session. And you can use pinch to zoom to zoom in on these sessions. Super handy. Also live has two really useful keyboard shortcuts for automatically adjusting the height and the width of your session. H will adjust the height and w will adjust the width. Sotalol Zoom things out to as full as your session is really helpful, especially when you get really big sessions. So let me go ahead and close these track lanes. Again, that is Command Option you. And I'm going to highlight everything. The first track, click this last track and just give us some space here to work. Once talk a little bit about Snap modes. If you look, there's these little grids, are these lines going up and down on the session. And if I drag my cursor anywhere, it's going to snap to these grids. That's helpful. These are time-based. So right now these are split up into 16th note divisions. We don't have to get too nerdy about what that means. But basically the smaller the division is, the smaller the grid you have to work with. Now, if I want a free form, we'll have to do is take this fixed the grid to off. And now I can highlight anything without worrying about it's snapping to a grid. This is really helpful when you're trying to select really small parts of a lyric or averse, or maybe even like a single word. And a quick way to actually toggle back and forth between having your grid on and off is the command for shortcut. So I'm going to change this grid to, let's say, a bar. Nice and easy to see. When I have the snapping on. All it does is click on the next bar. If I want to turn that off, I come in for, you see down here and now says off. And I can highlight it, whatever I need. Another handy shortcut here. Let me just turn snapping back on. If I hit Command one, it'll divide the divisions in half. I hit Command one again, it'll go in half again and half. If I hit Command 2, it'll raise these grids to bigger values. So you can make your grid smaller and bigger with Command 1 and 2, and you can disable and enable your grade altogether. What command for command 3 actually allows you to do triplet divisions, something probably not going to use for vocal editing too much. So when you start to select pieces of audio, you realized that a lot of the same copy paste shortcuts that you know from Word processors in the email works here too. So if I wanted to grab this four bars, I can hit command copy. I can go over here and hit Command V and paste it over there. I can select this clip and hit Command D, that'll duplicate it. I can even Option drag a clip to make a duplicate. And that's a really handy if you wanna do like a stack for example, I can make a track really quick what Command T? And then let's say I want to grab this piece audio down competitor here. And now I can put a really weird effect on this track and I still have my main vocal. What that little bitty piece is also lined up goods ago and now has whatever effect that I want to put on it. You can trim the clip just by clicking on the edge. So if you notice when I went to the edge of this clip, the cursor change. So there's a little bracket. That means I can now drag the edge of this clip either way. And that works on either end of the clip. And it will follow the same snap rules that you have. So right now it's moving an eighth divisions. If I hit Command four, I've disabled the snap. And now I can just move this by free-hand wherever I need it to go. You can split clips, which can be really useful sometimes. Use want to take a part of a clip but not the entire thing. If you click on where you want that split to happen, you can hit Command E and it'll split the clip into two pieces. Just going to undo that. You can also just go here and hit Split. I was just so right-click split from the sub-menu. If I wanted to join these clips back together, I can click this one. Command. Click this one. Let's actually grab all of them. Saw Shift-click to the n. Now I have all four of these clips highlighted. I'm going to hit Command a, Command J, and then consolidates this clip into a brand new one. Nice, neatly organized. A lot of engineers will like when you do all your edits as a last passage, just go back to the whole thing. Hit Command J and consolidate it into one WAV file. You can select a section and hit 0. To disable that section, you can hit 0 again and it'll reactivate it with live did was two things. It made a new clip and made a cut, and then a disabled that little section. You can also just clip, click onto a clip and hit 0 and it'll reactivate that clip. And if you zoom in, let me actually move this back a bit. You zoom in on any waveform. You can also fade in and out something I always do kill the silence at the beginning. So I'd get rid of this silence and editing. And then I'll zoom in real nice and just fade things. And, and this way the vocal doesn't just pop in your ears as soon as it starts, even when you don't have any audio recorded. Sometimes that little bit of noise that might be in the background makes a click if you don't feed into a vocal. So you can break clips down into sections and color them, which is really helpful sometimes let's say you have a first verse, a second verse, and a third verse. Each verse can get a different color. If that's something you wanna do. Something I've been doing a lot lately when sending things back and forth, is editing the info for a clip. Let's say this section had something I wanted to tell an engineer. I do right-click this clip really quickly and hit edit info text. And now when the lower-left corner I can write a little note. Let's say I want to tell the engineer add distortion. So vocal here. Cool. And I tend to do when I'm working with somebody will have a dedicated color for clips that have notes. So I'll just make all of this one color green for example. And I'll say, hey, anywhere there's a clip with orange, There's a note for you there. The engineer can now just hover over that clip and look in the lower left corner to see what the no, I had about that clip was super useful feature. I didn't use it and so recently and now I can't get enough of it. And the last thing we'll talk about really quickly is cutting and pasting time. So let's say we didn't want the whole ending of this song for whatever reason. And there was a bunch of tracks and we didn't want to go and delete all of those tracks. We can just highlight this section and hit Command Shift X, and that is the time feature. So you can obviously go to Edit and do that too. But shortcut, save you time. This is the cut time feature and it'll get rid of that entire section of time in your session. You can do this in a middle of a section. And it'll automatically joined the clips and the middle, you can also highlight, let's say, the end of a song and hit Command Shift D, and that would duplicate that time. So anything that happened in this section, we'll duplicate both the beat and the vocal, super-helpful for extending an outro or extending a hook. So these are a couple of really key features and editing live, I always say like the best way to learn about editing is to open up a session, a copy of a session. So you're not missing anything that you need up and just play around with audio, track things around, copy paste command click. The more you're comfortable with how to move wave forms around, the better you can start to do like advanced songwriting on the fly and advanced arranging on the fly. You can just record your vocal and move it to where it needs to be recorded. This verse, of course, this hook, move it to where it needs to be. It really frees you up in the process if you know what you're doing. 7. 06 Bouncing: Okay, so let's say we've edited everything down and we are now preparing this session to get sent to another engineer. There's two things I want you to do before touching anything. The first is to save a copy of the edited version of your session. If you made a bunch of tweaks and you like them, Let's make sure we always have a backup. We can get back to save a copy, call it the name of your song, edited version, have it saved in the TOC just in case you need it. The second thing you wanna do before preparing this thing for a bounce is contact the engineer you're going to work with and ask them how they want the files delivered. Some engineers want you to bounce what's called stems. Some engineers want you to just give them the session. If you're working in live, it's really, really awesome when an engineer just says Send me the session. It means you can go back and forth and I'll show you how to do that. But I'll also show you how you can bounce the stems out of your session. And this way, no matter what the engineers using, there'll be able to pull everything up. Let's assume we want it to bounce stems so they can be loaded up into any DAW. It's pretty easy and live. First thing I would do is make sure that all my tracks are named in a way that makes sense for the stems. So right now I have a vocal track. This narration track is just for you to hear me. So ignore that. And this one is actually still named a rummy. And then a bit of the beat name, an engineer is not going to know what that means. So let's hit command R and M, that beat. And now I'm just going to go to file and export audio video or you can hit Command Shift R. That's really what I prefer to do. And now we have our export, our export audio video. And though, and this is where you tell alive exactly what you want to bounce down. So if I go to selection, it says Master. So if I leave it like it is, it's just going to bounce the master recording. If I'm just trying to play the track back at the end of the day. That's exactly what we would want. But we're trying to bounce the stems. We want each individual tracks so the engineer can mix and master accordingly. So for that, I'm going to go and switch this from master to all individual tracks. And now the beat, the vocal, and even the reverb that we use will get its own recording when we balance everything down, you're going to leave most of these settings to off. But I do want to talk about this PCM section here. This is where we choose our file type. Most engineers that I've worked with either want a WAV file or an AIFF file, you can do either one and live leave dithering off. When you're doing these bounces. And you don't need to encode an mp3 version of these bounces. Most mixing engineers aren't going to want any MP3 stems. So for those I will disable. That's a really useful feature if you're just bouncing aversion to here and you want to send it to somebody like you on a tech somebody version of your song, you can send them a little MP3. Now that we have all this setup video is off. We're not bouncing any video here. We can just hit Export. And I can choose where I want able tend to deliver this bounce. I'm just going to put it on my desktop. Let's make a new folder. Let's call it bounce for mixing. And hit Save, live, render it that audio. And if you look, we now have the name of the session appended to the beginning of each of the stems. So we've got our echo track. This is the reverb. We've got our beat track. This is the narration track. Again, you can ignore it. This is our vocal track. Then this track here is actually the master bounce. So you've got a full version of your bounce 2. Now I can send this to an engineer. They can line these files up into Pro Tools, into logic and to whatever they used to mix. And all of the stems are going to start from the beginning of the song and line up perfectly. Now let's say we're working with an engineer that uses Ableton Live. This is again, my preferred way to do things. You wanna go to file and you want to go to collect all and safe. And this just makes sure that if you have recording bits or beets or pieces are samples that are located and other folders. It'll pull them all into the session that we're working in, right into that folder so we can package it all together and send it off to an engineer. So I'm in okay to bring on all of those pieces are audio. So to do this, we're gonna go to File, we're going to go to Manage Files. And then we're gonna go to Manage project. And now this window opens up a couple of things that it makes sure that there's a missing files. Talks about how many external files are in the project. Yada, yada. Well, we need to pay attention to is at the bottom the section that says create pack. So I'm going to click there. And now just like I did before, I'll go to that same folder we made. And let's just name this VPN session and hit Save. And that's it. We created what's called a ALP file. This is Ableton Live is container file that has the entire session and all of its audio. So now if your engineer also has live, they can go ahead and navigate to this file and pull it in and it'll open up just like a session. As a final note, I would use the same process when you're backing up your sessions. I tend to do a balance with all of the tracks stemmed out just like I would for an engineer using a different DAW. And I'll also make an ALP file as if everything together and then I save it in two places. Hard-drive is that my crib and in the Cloud. So I have backups that are saved digitally and I had backups that are saved on hard devices. Just in case one or two of them fails, there's nothing worse than losing all of your work just because a hard drive failed. And media and storage is so cheap, There's no reason for you to deal with that anymore. Don't do it to yourself. 8. 07 Outro: So that's it. Hopefully now you have an understanding of how to record yourself and able to live. Go ahead and get some practice with it. Take another listen to the chapters if things don't make sense. And if you need any help, please, please, please do not hesitate to reach out to me. I'm here to help you out here to make this process as painless as possible. Now to show me what you've learned, this is the cool part. When you feel comfortable and you feel confident enough in recorded something that you're proud of. Go ahead and submit it to me. Be sure to mention in the subject that you took the course and send me something that's at least eight bars long. Now I'm going to take all of the submissions. I'll be sure to reply to everybody and let you know I honestly feel about the track. But in addition to that, every couple of weeks or so, all of those submissions are going to get entered into a really cool contest that we'll talk about one-to-one. So again, thank you for your time. I really hope you learned something from the course, are really, really hope you go on to be more creative and more adventurous in your recording. And if there's any way I can help you going forward, you know where to find me. Peace, love, much success, amount.