Ultimate Ableton Live 10, Part 4: Sound Design & Samplers | Jason Allen | Skillshare

Ultimate Ableton Live 10, Part 4: Sound Design & Samplers

Jason Allen, PhD, Ableton Certified Trainer

Ultimate Ableton Live 10, Part 4: Sound Design & Samplers

Jason Allen, PhD, Ableton Certified Trainer

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45 Lessons (2h 39m)
    • 1. Introduction

      2:46
    • 2. Workflow: Lives Instruments

      3:43
    • 3. Quick MIDI Refresher

      3:54
    • 4. MIDI Clips

      4:03
    • 5. SynthesiBasics

      2:56
    • 6. Synthesis Types

      4:37
    • 7. Synthesis Elements

      4:29
    • 8. Lives Analog Synth

      2:37
    • 9. Basic Outline

      5:17
    • 10. Programming Analog

      9:29
    • 11. LFO and Other Parameters

      6:24
    • 12. All Ableton Live Instrument Overview

      1:22
    • 13. Lives Collision Synth

      9:53
    • 14. Programming Collision

      5:39
    • 15. Lives Electric Synth

      2:25
    • 16. Electric Basic Outline

      3:27
    • 17. Electric Preset Study

      3:03
    • 18. Lives Impulse

      5:28
    • 19. Building Grooves With Impulse

      3:25
    • 20. Lives Tension Synth

      3:51
    • 21. Tension Preset Deconstruction

      4:04
    • 22. Lives Operator Synth

      5:13
    • 23. Operator Programming

      5:01
    • 24. What is Wavetable

      2:49
    • 25. The Wavetable Interface

      1:40
    • 26. Wavetable Sub Section

      1:54
    • 27. Wavetable Modulation

      2:15
    • 28. The Simpler And The Sampler

      1:52
    • 29. Using Simpler in Classic Mode

      3:09
    • 30. Simpler in 1 Shot Mode

      1:55
    • 31. Simpler in Slice Mode

      2:32
    • 32. Using Sampler

      3:12
    • 33. MultiSamples And Zones

      3:28
    • 34. Sampler Orchestra Library Example

      2:17
    • 35. Instrument Racks Overview

      3:07
    • 36. Chains And Chain Selector

      5:13
    • 37. Macros

      4:32
    • 38. Rack Presets

      3:46
    • 39. Drum Rack Review

      2:24
    • 40. The Choke Setting

      4:11
    • 41. Sends Returns in Drum Racks

      1:54
    • 42. External Instrument

      1:37
    • 43. Up Next

      0:54
    • 44. Thanks!

      0:48
    • 45. SkillshareFinalLectureV2 (2)

      0:36
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About This Class

**  This is the new version of my Ableton Live 9 class that is a top-selling online course with thousands of 4+ reviews, and tens of thousands of students!

This class uses Ableton Live 10.

For years I've been teaching Ableton Live in the college classroom. As a University Professor, my classes are sought after, and, frankly, expensive. I believe Ableton Live can be learned by anyone, and cost shouldn't be a barrier. This class uses the same outline and syllabus I've used in my college classes for years, at a fraction of the cost.

This is Part 4: Synths & Samplers

This is a really deep class - tons of content, tricks, and tips. I'll go through all of the Ableton Live Instruments in this class, with considerable detail on each one. We will also talk about synthesis tricks and tips, getting most out of your samplers, and tons of production tips. Topics include:

  • Synthesis Basics
  • Types of Synthesis
  • Physical Modeling Synthesis
  • Elements of Synthesis
  • Live's Analog Instrument
  • Live's Collision Instrument
  • Live's Electric Instrument
  • Live's Impulse Instrument
  • Live's Tension Instrument
  • Live's Operator Instrument
  • Live's Simpler Instrument
  • Live's Sampler Instrument
  • Multisamples and Zones
  • Sampler Orchestras
  • Racks!!!!
  • Instrument Racks
  • Chain Selector
  • Macros in Racks
  • Drum Racks
  • Choke Settings
  • The External Instrument
  • ...and much more!

I will be making 6 (six!) complete classes in order to bring you the most comprehensive manual on Ableton Live production techniques ever created. Each class has Sets, sessions, and experiments for you to try on your own and follow along with.

You will not have another opportunity to learn Ableton Live in a more comprehensive way than this. Start here.

J. Anthony Allen is an Ableton Certified Trainer and a Ph.D. in Music Composition and master of Electronic Sounds. His music has been heard internationally in film, radio, video games, and industrial sound, as well as the concert hall and theater.

He currently is a professor at Augsburg University and the CEO and co-founder of Slam Academy in Minneapolis.

Praise for classes by Dr. Jason Allen:

"Without a doubt the best explanation and east of use that one can get. It leaves you enough room to go explore. The classes go by quickly, so you can be on your way to being proficient. What are you waiting for!"

"Amazing - Seriously Loved It! I took all his courses and have to say I'm so happy! Learned loads! Jason is an awesome teacher!"

"I have never had any formal training in music at all. Trying to learn all the notes and how everything translated was a serious challenge. After going through this class, Dr. J has totally brought down the barriers. The content was very useful and was easy to grasp for me."

"I like these courses because you can get up and running quickly without having to spend hours of time wading through TMI (too much information!). Jason hits the high points but shows you what you need to know. Thanks!"

"I've watched many other videos on scales and chords before, however, this one has been the best. I now understand minor scales and chords and even how to analyze songs. It really gave me the confidence to start producing music because I feel like I have some structure and guidelines to follow. AWESOME!"

"Clear and Informative - Jason has a clear uncluttered style (with the important dashes of humor) of presentation that is focused on the important key aspects of this course. Recommended for those starting out!"

"Dr. Allen does it again with his music theory series. This course really opened up everything I learned from the 1st section, and now I understand more about the composition side of things for music. I highly highly recommend this course to anyone!!! Really opened my eyes to many things I wasn't aware of."

"The Best Teacher Ever, who makes you understand the ins & outs of Music Theory by all means without giving what you don't want to know."

Meet Your Teacher

Teacher Profile Image

Jason Allen

PhD, Ableton Certified Trainer

Teacher

J. Anthony Allen has worn the hats of composer, producer, songwriter, engineer, sound designer, DJ, remix artist, multi-media artist, performer, inventor, and entrepreneur. Allen is a versatile creator whose diverse project experience ranges from works written for the Minnesota Orchestra to pieces developed for film, TV, and radio. An innovator in the field of electronic performance, Allen performs on a set of "glove" controllers, which he has designed, built, and programmed by himself. When he's not working as a solo artist, Allen is a serial collaborator. His primary collaborative vehicle is the group Ballet Mech, for which Allen is one of three producers.

In 2014, Allen was a semi-finalist for the Grammy Foundation's Music Educator of the Year.

J. Anthony Allen teaches... See full profile

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Transcripts

1. Introduction : we've made for you. Here is the most comprehensive, able to live program we could imagine. It's designed to take you from novice to pro. It'll have project files, instrument downloads, special guests in a lot more. I've divided this class into six different sections so that you can focus on what you want to learn right away. However, to really take full advantage of the program, start at the beginning and go to the end, or at least make sure you take all the sections at some point. This is part for since and sampling in this class, we're gonna go over. All of the instruments built into able to live will do this by designing some of our own sounds, picking apart presets that air in there for looking at some sounds that some other people have built on the same token will then move on. Teoh able to sampler instruments. There are two powerful samplers here, and then kind of 1/3 1 that we can use to make really powerful, dynamic sound. Lastly, we'll dive into able tend to wrap The racks are one of those powerful things in a Bolton, and the instrument racks are no exception. We'll learn how to design a complex, unique instrument just to you. Using able tunes Instrument right que and LFO is something you'll see on just about every synthesizer. Also, um, it stands for low frequency oscillator. And what that means is it's kind of another oscillator like this, except this one we won't hear. It's too low for us to doing sound design where we basically make a really complex sound and then subtract elements away from it. And what what resort is without just looking my way from there? Now I turn it on. See all this power we get to build one of these, all you do is go to zones and then you can just start adding new zones. You can't keep that in mind. When I just threw an audio file there, it made a simpler which means 2. Workflow: Lives Instruments: Let's dive in by first quickly talking about the differences between instruments and plug ins. OK, we've talked about this before in the previous class, just a little bit, but I want O pointed out one more time just so that we're all on the same page as we get started here. So over here in the browser, we have instruments, audio effects and plug ins. Some other stuff will talk about soon to, but instruments, audio effects and plug ins. What are the differences? So instruments are sound making things that a Bolton has made and they come in life. So all of these are things that that the company able to makes and put puts in the life. If you don't have all of these, then you don't have lives sweet. Okay, so you need to have live sweet to see all of them. This is like the biggest spot that, um, you'll notice the differences between the different versions of live between sweet standard and intro. Um, is you'll have less, uh, instruments. Um, are you effects are same kind of deal. These are audio effects, things that will process an audio signal that are made by able to. Okay, so instruments and effects, these are built into live all of these. You can't, Adam. And you can't take him away unless you get a different version of life plug ins. On the other hand, are things made by other people and they can be instruments or effects. Okay, So plug ins is kind of the catch, all for things made by anyone other than life. Okay, this is the folder that live is saying we'll let you use whatever you want, but let's keep it separate from the things that we make, even though some of them do really similar things. So you can download plug ins and you can add them. For example, you probably don't have all of these plug ins when you go to your plug in folder because these are things that I've installed on my computer. Right. Um, so some of these are instruments, meaning they make sound based on a midi signal. Some of them are more like effects. Um, but all of them kind of fall under plug ins. Ah, quick way is Let's look at So here's an instrument. OK, this is electric. This is one of lives instruments. We're gonna look at this one shortly, but this is what it looks like when it's in live. It looks like it belongs in live, right? Most of the time, plug ins look like they are from somewhere else like this. This is a plug in that's running in live, but and inside live. It just looks like this. This box, right? Doesn't do a whole bunch because it pops up a new window. Um, you know, and I can put that off to the side if I want, or something like that, and this is cool. This does a lot of extra stuff, but this is something outside of live that I downloaded and I installed on my computer and lives happily use it, but it didn't make it, so we'll talk about plug ins later. But right now we're talking about instruments. Okay, so instruments look like they belong there typically. Okay, so those are the main difference is moving, uh, plug ins and instruments. So just wanted to make that super clear. That being said, let's go out and do a quick midi refresher and talk about how many works. Kind of briefly, because we've already talked about it and then we'll move on. But it's gonna be important for this class, so let's make sure we're on the same page. 3. Quick MIDI Refresher: Okay, quick little refresher about how many work? So I have a MIDI keyboard plugged in, and I have this track armed to record. That means that we're gonna hear it if I plan the keyboard. Okay, so I'm just playing some notes now. Oh, and that's how it works. Um, if I play a track, that's here where I already have notes in here. I have many notes. Input. We could see those there. It's gonna play through that same instrument that's on the track because you can only have one instrument on the track at a time. OK, so whatever instruments on that track, that's what's going to get played through. Whether you're playing Midi notes Ah, on your keyboard or you've recorded many notes. We're gonna hear him all through that instrument. There's only one that could be on their at a time unless, uh, you do a trick called instrument racks, which will talk about soon. Um, that's kind of a weird way you can do it. Remember that when you play your keyboard or when you look at Midi notes, these are just really a Siris of on and off commands, basically, so there's no audio here. This says, Turn on a note right here that says, Turn it off. This down here says How allowed to play it. And that's all. OK, there's no audio here. And what that means is that we can switch this instrument out with something different if we want. Um, let's grab just a random something and switch it out. Okay, Now, that's what I'm right. There's new audio information in there. This might seem rudimentary, but I just want to make sure that we're all on the same page here. Um, now, one thing that I typically explain in this section is that ah, without the if you think of a midi note as an on off command Ah, it has some problems. Let's make one mini note. I remember this means turn this note on and this means turn this note off, right. If I start playing this halfway through it in the past, and if you're on a different program where you're working on a different program, you wouldn't hear that note because nothing really happens in between the on and off command says. Turn that note on and then it waits. Since this term that note off. If you start playing after it said, turn that note on, it's just gonna wait and then it's gonna get a turn. That note off command, it's gonna say, Oops, nothing was out. Um, so that was historically, always a problem. It's not a problem anymore. Um, live has this new thing called Chase Midi notes in which it will figure that problem out for you. Okay, this is a cool, new live 10 future. So, um, you can start where it will figure out what it should be doing if you start a note. If you do what I'm doing right now, you hit play after the on message and admitting you don't hear it. Make sure you have this chase Midi notes turned down. I think, um, I can't I don't I can't imagine a reason to not have that on all the time. So turn on this chase, midi notes and just leave it on all the time. Um, if I ever encounter a time when I want to turn that off, I'll let you know. But the, um it's totally new, you know, It's a new thing to live 10. So I haven't yet encountered. I need to turn that off. So leave that on. Okay, let's talk about mid eclipse really quick, and then we'll be often running. 4. MIDI Clips: in order to make a MIDI clip. We know that in session view we can go to a midi clock, a midi track, not a midi clack. That would be weird. Ah, mini track and double click on a clip slot, and it will make a many clip, a blank MIDI clip that we can write notes in or we can say whatever you want. It's quite the since I put on there. I can click it again. Press the delete key to get rid of it. An arrangement view Aiken Dio essentially the same can double click to make a one bar or whatever your grid resolution is Clip and I can drag it out to make it longer. I can put notes in it, Um, but watch out for the loop length like let me make this a little more obvious there. See how that's repeating over and over and over, because when I made this clip, I made a one bar clip, and when I drug it out, I was just looping it. If I want my clip to be actually this long, I could turn off loop and then do that. That will make it actually that long. Or I could make it that long or well, I could go back. Let's go back to how I had it. Or I could just adjust the loop length to be the 1 23 to 1 47 I don't know. What is that? 15 or so bars could make that loop length about 15 bars, and now looks like a couple short. But you get the point. Um, now I have this long of a loop. Okay? You can see where the loop restarts from that little tick right there. Okay, so just make sure that when you're making a midi clip, note that you're always gonna make it based on what your grid is. And if you wanted to be longer, either adjust the loop length 6 10 and then drag it out or turn looping off and then drag it out. That would make it that long. Okay, Just a couple of things about making mid eclipse because we're about to make a lot of money clips. Also, of course, you can, um, record anonymity. Clip I got to do is make sure you're armed to record on your MIDI track hit record place notes. I love that you. Since that's the new wave table. Since we're here, we can talk about shortly. So there's the notes I just played in. Cool, right. I can command a to select all and then command you to Kwan ties it if I want, um, or I could nudge stuff around manually if I want is Well, cool. All right. So just a couple refreshers about mid eclipse. It's get rid of that little hanging guy there. Now, there's gonna be a lot of many key commands and just general key commands that we're gonna use in this class. I thought maybe, Ah, something handy would be to just give you Ah ah, big document of key commands. I think I gave this to you in an earlier class, but I want to give it to you again from the next section. I'm gonna give you Ah, document that you can download. That's just a whole bunch of key commands. Um, and remember, I don't love like, memorizing key commands, but, uh, if you want to their their here they are. Right. Um, don't worry about memorizing. You'll memorize the ones that you use a lot, but when you find yourself doing something a lot, Look up the key command for it will save yourself a lot of time. Okay, so that and then we'll dive into synthesis. 5. SynthesiBasics: Okay, So before we dive into each, uh, the individual instruments, let's talk a little bit about what we're doing with these instruments in the first place. Okay? Because this is sound design, like we're really getting into sound design kind of heavy, uh, in the next 50 videos or so. So let's be sure that we know what we're doing. So I have pulled up here the analog instrument. That's the 1st 1 that we're going to dive really heavy into. So in the analog instrument and in all instruments, I'm just gonna use analog is an example. What's happening here is math. That's what you need to remember. Remember that this isn't a recording. There's no recording anywhere in here unless you're using a sampler, which is a whole different can of worms that will also do in this class. But right now, what we're doing is math. Okay, so the sound is all being generated by these knobs, right? And don't let all of these knobs and dials and stuff intimidate you. Okay? There's very logical explanation for all of them, but more importantly, there's a logical explanation for, like the four or five that you need to really get in the ballpark of what you want to do. Once you get into, you know, the LFO is and things like that. Things can get a little more complicated, but But when you're getting started, you don't need all of those, right? Like we can simplify this by just using, you know, maybe a couple of things we'll get into in just second, but of remember that this is generating sound all on its own. It's just getting a MIDI signal here, and it's spitting out audio for us, right? So we need to control all the parameters of this big algorithm that's happening. And each one of these dials is one of those parameters kept so like when when you were in school on its head, like solve for X. Um Ah, this is X right. Each of these dials is X or Y or Z or whatever. Um, when you were trying to find those variables, we're gonna dial up those variables. And what's fun is that Ah, you can, on occasion, do some stuff to, like, really break this math and create some really crazy sounds, right? Some synthesizers are designed just to break the math. Ah, we'll talk about that a little bit later. But for now, um, just keep it simple. Just remember, each one of these is just a factor in an algorithm, and that's all we have to do, right? So it's It's obviously a little bit more complicated than that, but let's next go into the different types of synthesis that exists in that we have access to. 6. Synthesis Types: okay, There's a bunch of different types of synthesis, and each one of the live instruments does something a little different, right? It's not necessarily that they make different sounds. If you really wanted to, you could make the exact same sound with an operator that you could with analog. Probably. So it's not so. Each one of these is not about making different sounds necessarily, but using a different technique, which most of the time will result in different sounds. That's why I kind of paused when I said Operator, an analog, you could make the same sound. Um, and I only pause because operators one of the more complex ones that could do a couple of different types of synthesis. But, um, so the types of synthesis that we have access to, um, we have analog synthesis. Okay, so let me just close this up there, Okay? So the analog is not just analog synthesis, right? Um, the analog is a kind of subtracted synthesis, so subtracted synthesis is a way of doing sound design where we basically make a really complex sound and then subtract elements away from it. And what what results is the sound that we want, Um, so we make a big sound, and then we peel layers away, like like an onion, and then we end up with a very refined sound that's called subtracted synthesis. Collision Collision, I believe, is a physical modelling synthesis. Synthesizer. Physical modelling is like where the math gets really insane. But you'll never have to deal with mass. Don't worry. No math in this class. Um, and we're gonna be working with these algorithms but will never see them as numbers were only working with music here, but collisions of physical modelling synthesis, which is really wild. So in physical modeling, what you do is he basically model the physical world with math. So, uh, collision is designed for percussion sounds. So what we have is we have the mallet, we have the resonator, so basically, ah, what you're hitting and what you're hitting it with and all the parameters that can go into those things. Um, so you can say, like, I'm hitting a beam of marimba string, you know, plates to is whatever. So there's some really fun things you can do with that. Okay, A drum rack. We looked at really briefly in the previous class. This is just kind of a container for just about any kind of sense. The electric. I'm not really sure what we'd call the electric. It might be additive, which is the opposite of subtracted. Obviously, it's we're just gonna pile up sounds as much as we can, but the electric instrument is designed to make electric keyboard sounds like organs in like the roads. Organ war. Let's hear that kind of stuff. External instrument is for when you're plugging something else into your computer. That's not really an instrument. By itself, Impulse is a kind of sampler. Eso. It's kind of like drum racking away. An instrument rack is away is also kind of like drum rack in that it has ability to, ah, hold many. It's a container, and let's just say for many different instruments, operator is a really complex one. Operator can be many different kinds of synthesis, depending on what you do with it, and we're gonna dive deep into operator in this class. So don't worry. They're simpler and sampler are both samplers. The simpler one is Ah, simple, relatively simple version of a sampler and a sampler is a little bit more complex. One tension is another physical modeling synthesizer. This one's designed for, Ah, string eso collision was more designed for percussion sounds. This one is designed for more string sounds. And then our new one in live 10 is wave table. And this is a kind of synthesis, all on its own called wave table synthesis. Um, hence the name wave table. Right, So wave table synthesis is very complex, but, uh, this is a really cool interface that makes it relatively easy to do. So stand by for that. We're gonna talk about wave table quite a bit in this class as well. 7. Synthesis Elements: Okay, let's go back to analog for just a minute. And I want to tell you about the four main elements of any sentence, either. Okay, this is true for samplers to. So whenever you look at any synthesizer, whether it's in software or like a big analog hardware synthesizer, whatever you're looking at, there's a way to make sound on those things really quick. And the secret is to look for these four things. Every synthesizer has these four things. Okay. And as long as you can find and identify these four things, you could make sound on it. So the four things are first, the oscillators. Okay, this one is called oscillator one. And there's a 2nd 1 here called oscillator to so different synthesizers have different amounts of oscillators. Some have won, some have 10. Whatever. Um, this one has to. So the oscillator is the thing that makes sound. It's the only thing that makes sound. So this is gonna make a sound. The oscillator. See this little box? This is the oscillator, and then some settings for the oscillator. Okay, So oscillator is the first thing. Filter is the second thing in this case. I have to. I have filter one and filter too. Okay, The filter is what's gonna take away. So we've talked about filters a little bit when we looked at the EQ you earlier. It's the exact same thing here. Um, and don't worry, We're gonna go over in detail how this works. I'm just trying to give you a quick will review. So the filter is what kind of helps us peel away sound. Okay, so that's this box here. The third thing is our envelopes. You know, envelopes are not so obvious here because envelopes don't get their own section. Usually, they're usually part of something else. If I click on a filter, this is an envelope. Okay? This just tells us what we're gonna do with the sound. Okay. If I click here, this is another envelope. Okay, so we're gonna talk more about envelopes in the very near future, But just keep in mind that what an envelope does is it tells something how to behave over time. It says open and close over a span of time, and it says how long? It's a very neat little mechanism that we've developed over the years to control different synthesis parameters. The third thing, or the fourth thing I should say that you need is the amplifier. And thats in this case it's here. And that's just our volume. If you can't find that, then you're not gonna get any volume out of it. Okay? And then we've got a main volume. Here is Well, so let me look at this, uh, envelope really quick. One more time. So let's Here's my sound that I've got here my finger and it's off. Okay. If so, what this is telling it to do right now this envelope says, Turn on right away, Go to full blast, calm down a little bit and then sit there forever. And then once I lift my finger off fade that sound out pretty quick. If I wanted it, Teoh, slowly turn on. I would do that right now. It ramps up. Really? So what the envelope is doing is it's giving us these kind of four parameters on what to do . If I wanted this to be more percussive and not sustained forever, I would do something like this. Like when I play the note, go to full volume and then come back down to nothing quickly. That's what I've got now. Could make that a little longer, right? So that's what the envelope does and you can. There are different kinds of envelopes the are looking at. Here is the amplitude envelope. But you also have envelopes on filters and other places as well. More on that in the near future. But those are our four main elements. The oscillators, the filters, the envelopes and the amplifier. Okay, as long as you don't find that you're good to go. 8. Lives Analog Synth: All right, everyone, let's dive into, uh, Anna. Look, So analog is the 1st 1 we're gonna look at in in detail, right? So this is kind of replicating an analog sense with two oscillators to filters a relatively basic and locks in the sense, um, it is subtracted synthesis. So those filters are gonna be important, and we'll go over that in just seconds. So we're gonna program our own sound with this. So I've cued up just the default by just loading in the analog without one of the presets. If you open it up, obviously you get all these presets. But if you just double click on the thing on the analog name, you get the default sound a little buzzy on. We'll look at where that buzz comes from this second. Another thing I'm going to do is just so that I don't go back and forth to my keyboard. Um, I'm going to set my loop, and I'm just gonna make I don't know. I like to just make something so that I don't have Teoh, you know, go back and forth all the time. So how about that? Um, let's do this. Let's make that twice as long. And let's give us some shorter notes to, um because I want to hear kind of long and short notes so you can make whatever you want here. I'm just making some random stuff, and I'm just gonna loop this while we dial in our, uh, since there Beautiful. So now I'm set up. I'm gonna shift tab over to my analog and let's start dialing this in. So first, let's look at the basic outline. We're looking for those four things that we just talked about oscillators, filters, envelopes and amplifier. 9. Basic Outline: okay. We sort of looked at the basic outline. Um, a couple of videos ago, but there's a little trick here that I haven't that I didn't point out then. So when we're looking at the signal flow here, what's happening is we're going from each box here. So, like, one of these is a box. I think this is another box. So each box from left to right. Okay. And kind of in two different ah streams. Let's call it So also later, one goes to filter one goes to amplifier one, and then we have this LFO section that we'll talk about in a minute, and then the master volume, same thing down here. Oscillator to goes, filter to goes to amp to and, uh, the LFO section and the volume. Okay, that's all finding good. Um, notice here that oscillated one and two are both on because they're yellow, right? I can turn them off. So this way I just have one off later. That's just one later. Here's to It adds a little bit of color to it, but not a lot. The reason it's not adding a lot is because we have the same Ah, wave form. Okay, so these are our main wave form types sine wave triangle square and noise or random and the same ones down here. If we really want to make a thicker sound weaken set these to be different. It's here just one oscillator to wait a little bit more bell sound Teoh square away We'll add a little more Great on And then I can tune it. I can take this down and active right now I've got two octaves. That 1st 1 is still unaffected. I didn't change that 2nd 1 right? And then, if I really want to make it sound really kind of thicker Aiken de Tune one of the oscillators. Just a little bit, like maybe about, um, eight cents way got volume for each one of these two that we can adjust, which is cool. Okay, so but the trick I wanted to point out a second ago is outsider. One goes to filter one. Okay, that's all great. Uh, noticed that filter to is off because right here, filter one or filter, too. This can Either oscillator can be sent to filter one or filter to. In this case, oscillator to is being sent up here to filter one. That's what the F one means. And there's a ratio, right? I could say 50 50. I could say 50. 50.5 a signal is going to filter 1/2 the signals going to filter to now. In this case, that means that other half the half as getting sent to filter to is just gonna get tossed out because filter to is off. Not really gonna do anything. Turn to on shape it a little bit you, um so notice that if you consent the signal, you can send your oscillator from filter to which ever filter you want or both, and then filter one has the unique option to be able to be sent to filter too. Right? So this is saying, send 100% of it to filter, too, so it's going down to filter too. Okay, so we can put, say, don't waste it. So just note this signal flow here. So then we go to the amplifier and then both signals go to the LFO and the volume, which we'll talk about shortly. Um also note that whenever we click on one of these boxes, all of this stuff in the dark. Ah, the dark box. That's just call it, um, changes. Right? So all of those parameters, our contextual. So that means that they change based on what section were looking at. So this is the amplifier envelope. This is the filter envelope. OK, that's where your envelopes are. Okay, So, with that in mind, uh, let's dive in and program our own song are our own sound into this thing. 10. Programming Analog: Okay, So when we're programming this, I'm going to start by just turning off my second. A round of stuff. My second oscillator. My second filter in my second amplifier. Let's just listen, Teoh off. Later, one fell through on an amplifier. One to get started. We'll add in those other two minutes. Okay, Pretty boring. Um, so as we're dialing that saying, the first thing I want to think about is our wave form. Can we only have four options? And these are the kind of standard for that you'll see in just about any synthesizer. Sometimes you'll see more than this, but you'll always see these four. So the way to think about this is sine wave is the smoothest purists sound triangle adds a little bit above square, adds quite a bit more buzz. And this random is pretty busy. Actually, this is just noise. So we have a second noise amount down here that we can add. But noise could be good for creating, um, like drum sounds and things like that. So let's stay away from the noise for now, But let's do a square wave. It's got a good bit of buzz. Theo, right side way was really pure. Um, so here we can t o right And the semi tone this will. You know, if you play a C on your keyboard and you set this to two, then you're gonna play that you're gonna hear a d. So someone telling there are 12 steps and d tuned. There are We go up to three and down to three, which is a new parameter. We used to go up and down toe 50 and negative 50. But turning this all the way up is should be equal to one Ah, semi tone. So I'm just going to lead on those now d tuning doesn't do you a whole lot other than the active unless you have a second oscillator so that they're out of tune from each other, which can make a really cool sound. So let's leave those just in tune for now. Okay, so then we go to our filter. Now what a filter does. I think we've talked about filters before, is a filter gives us we get a frequency, and that's gonna be the cut off frequency. So anything above this frequency is going to start to get rolled off. So the volume of frequencies above this point are gonna get quieter and quieter and quieter until we can't hear them anymore. So this is gonna be the top frequency that we hear before it starts to get cut off. No. The speed at which they get cut off. Meaning, um, is that a sharp slope down or a gradual slope down has to do with this, Uh, 12 decibels per active or 24 decibels. Proactive is going to be so 24 is gonna be faster cut off than this. So this is going to cut those frequencies off pretty quick. Um, a more gentle filter. It would be 12 decibels. Proactive. And we have different types of filters here to let's just focus on low pass for now. S O L P is low pass ban passed. Notch high pass. Ah, informant. So low pass means we're gonna let low frequencies through. We're gonna chop off high stuff. Hi. Passes the opposite. We're gonna let high frequencies through, Gonna chop off the low stuff. So let's leave it on. Low pass. Let's send Let's not send anything to filter to. Let's just keep it simple. The resonance rez. Oh, is short for residents. That means how much we're gonna boost this signal right at the cut off. Meaning we're going to give it a little lip up and boost the cut off frequency before we chop it off. That's a little weird to think about, but let me just show you what it sounds like. So we're cutting it off around 2.4 K If I boost the residents, what it sounds like is we're gonna boost the highest frequencies that it's letting through , which is going to give it kind of a laser gun sound. Right now it's important to remember that resonances. Just how much we're boosting the cut off frequency. It doesn't change the cut off frequency. So if I want to move that laser gun sound around, I would actually move the frequency. Theo, go very much find stuff through too much residents I find okay. And then real simple. In our amplifier, we have panning That's our left and right balance. And then our volume of this oscillator. So this volumes for the entire, um since this is just for this oscillator, um and let's save lfo. Ah, and these for the next video cable. Let's add our second oscillator. So we've got a square wave here. We could do a square wave again. Can actually be a cool sound, especially if we d tune it. Let's leave it d tuned like this so we're d tuned by an active and about eight cents. Um, that's just a little bit. So it's gonna give it that cool sound. Turn on our filter. Let's send just for simplicity all of oscillator to to filter, too. Okay, so we're going just straight through. Nothing weird here. Let's set this around there. A little bit of residents, but not too much amplifier. That's all good. Okay, let's see what we got. Let's adjust our panning so that our top oscillator, the higher one, is in the right side and are lower. One is in the left side way. OK, now let's look at our envelopes. So let's go to our amplifier envelope So and just for a second, let's turn off oscillator Teoh. I don't need to turn off all the filter to an amplifier to because there's no oscillator going into him right now, because I turned that off. So let's say I want to make this really short. I could do this. Um, if I wanna make it long, What if I wanted to make it look up more of a pad sound? I could have the sound ramp in and a slow fade out thing. Right. So that's how you make those sounds. Now, my second oscillator is gonna have It's totally own, um, envelope here. Amplitude envelope. So this one has a super pad sound that's just gonna resonate forever. And this one is quite percussive. Let's make it really It's kind of cool, right? Like you can mix these up and do whatever you want. I could make him both really sustain e and pad like, But now I don't have any riel hard attack on this note. Let's go back to making this a more of a short sound. But not a totally short silence. Leave a little bit of volume in the sustain. I got a full back. Okay, Not bad. Next, let's talk about this LFO business 11. LFO and Other Parameters: okay. And LFO is something you'll see on just about every synthesizer. Also, um, it stands for low frequency oscillator. And what that means is it's kind of another oscillator like this, except this one we won't hear. It's too low for us to hear, but, uh, it's useful to us in other ways. And that other way is it's going to be away for him that's going up and down in these kinds of shapes. Right? Um so a sign way, for example. So sine wave goes up and down and up and down nice and smooth. So if we turn on our LFO and I go to the contextual menu and I can say which kind of wave form I want So let's say a sine wave. So it's going up and down and up and down, and then we apply that somewhere. Okay, we have to turn it on somewhere else. It's not gonna do anything by its own. Let's go to our amplifier and let's go to Panama and we see LFO one. So this is pan modulation. So what I can do here is say turn up lfo one, we turn this off. OK, so it's turned up LFO one just turned up all the way So now what we're going to hear is this LFO which is going up and down, up and down, is now controlling our panning. Okay, so that LFO has has its finger on this dial now and it's gonna slowly turn it up. Turn it down, Right, Theo? Right. So we can adjust the rate which is the speed, or we could apply it somewhere else. So let's turn this off. Let's put it on the volume Wear only using the LFO on our top oscillator If we want to use it on the bottom oscillator go here, turn on LFO two which could be the same or different sometimes fun to make a little different and then turn on Turn that on a slightly different Now check this out If you want to make that big Ah, that big wobbly based sound We can turn this We could hit this button which is going to change our rate from hurts two divisions of the beat So quarter note Ah, quarter note Triplet eighth note etcetera Right, Let's do that on both of these Let's set them both to eighth note. Now, let's, um I'm gonna play a note. I've got this big gnarly sounds, so I've got to square ways big, distorted sound. And I've got this LFO controlling my volume, and it's giving me that. What? What? What? What? Okay, so now if I really wanted to do the dub step thing, I'm gonna do this on one oscillator for a second, because hard to do in real time, I could modulate this. Right? So what you would do if you really wanted to make that is you would automate this rate while playing a baseline, and then you can control the speed of that lfo. And that gives you that really wobbly base. Um, that people, like sometimes cool. Okay. So we can also add noise to it if we really wanted to Just sometimes useful, um, vibrato unison mode. I'm not exactly sure what this does in detail. I think it it's kind of a chorus effect. Meaning I think it adds a duplicate that you can then de tune. I'm not positive. I don't use that very much and then glide ah glides between the notes so it gives that sound of when you're switching. Now it's moved up to a different theme and you can control its parameters here. Okay, um, let's turn that off with citronella faux back on. Okay, Now, I'm gonna give you this file, and here's how I'm gonna do it. Um, I'm going to save this as a preset, and we'll call this lesson 13 to be the next one, Uh, a TV for able to device. So you can download this file and loaded in, and you'll get exactly where we left this. If you want that, I'll give you something to play with. Okay, Um, so that's basically how the analog works moving forward. We're gonna go through all the live instruments in this kind of detail, and we'll kind of program some stuff, and some of them will pick apart presets that already there. So let's dive in and do it 12. All Ableton Live Instrument Overview: all right. Ah, in this section, we're gonna go through the other live instruments that are not samplers. We're gonna hold on to the samplers until the next section after this. So in this section, we're going to go through collision electric impulse tension and operator and the NuWave tables. So it's gonna be a long section, a lot of stuff. Um, I think what I'm gonna do here is to go to a new clip. And for this one, I'm just gonna make, like, a single note like that. Um, and really short hoops. I don't want to hear that one anymore. I just want to hear that maybe even a little faster. Let's do it. Let's do that. Okay, so this way we'll just hear this single note over and over. Might be a little monotonous, but it'll help us toe program are sound a little bit. It's I'll do that, at least for the collision thing on. Then we'll decide what to work best with for the future ones. But for now, uh, let's dive in. So let's work with collusion. 13. Lives Collision Synth: Okay, so I have collision pulled up here. That's the kind of the 2nd 1 in our list. Now, this one works quite a bit different than in a look. Uh, analog was subtracted since. So we had ah, lot of action going into our filters. Um, we still have filters and everything, but what's different here is that this one is a physical modelling synth and physical models work quite a bit different. They're still sense that still all math kind about under the hood. But what's really happening here is we're trying to, like, replicate the physical world. So we have all these parameters for things that happened in the physical world. Um, we have instead of oscillators, what kind of as oscillators? Kind of filling the role of oscillators We have to hear. We have mallet and noise. Okay, These are our two oscillators. So with the mallet, we can adjust the volume. We can add some noise to it and the stiffness. Now, this is what's interesting here. This is where we really see the physical model element. Come in. Imagine you're hitting something, uh, with a mallet. Right. Um, if you were hitting it with a really hard mallet. Let's get back into my loop here. Okay? Really hard mallet. It might sound like that. Really soft mallet might sound like that, right? Like you're hitting it with a piece of metal. Might sound like that, hitting it with, Ah, yarn mallets. It'll be a little softer like that. That's where stiffness comes in. Color is similar. I don't know exactly what parameter color is doing. Uh, uh huh. But we get a little bit brighter sound on the lower end here. Thin the higher. Uh huh. Oh, I see Color is controlling the noise. Uh, element here. So that kind of noise that we have in here, we're kind of shaping that noise a little bit. So colors kind of acting as the filter. Now these cavey boxes, you'll see these all over the place. Here. It's written out key and velocity. What this means is, if we turn this up, that means that the key that we play, the note that we play is gonna modulate this parameter or whatever preliminary it's by. This is true and all since you'll see these all over the place and live. So if the key is modulating it. What that means is, if we play a higher note, it might in this case turned the volume up or down, depending on how we go that you can use that toe level off your, um, sent a little bit. If the highs are like getting really piercing, you can adjust this so that as you get higher, the volume goes down and you can adjust it that way. Same thing with velocity. You might want to turn up velocity here so that when you play a note softly, it's quiet. When you play it hard on your mini keyboard, it's loud, right? If you turn that all the way off, you don't get any velocity control, right? But what's cool about that is you can say velocity goes into stiffness, so if I play really soft, it sounds like this. If I play really hard, it's really that soft sound. So it's kind of opposite of what you would expect. But I can go negative now if I played really soft, that soft sound and as I play harder, you get that stiffer mallet sound so you can really customize your MIDI input with these ah parameters Okay. Next let's talk about our noise. Oscillators was a little different, so I'm gonna turn off my mallet. So now all I'm hearing is the noise oscillator. Okay, so this is, like extra noise we can add. Um, right away on the noise we get a filter applied to it. That's really what you want in noise. So here's my filter settings that we saw before Low pass, High Pass Band Pass Remember that in low pass We're gonna let lows pass through And we're gonna cut away highs in high pass We're gonna let highs through And we're gonna cut away lows and a band pass We're gonna let something in the middle through and cut off the low and the high Let's set it too low Pass And then we can craft that here. Okay, so this is a representation. A graphic kind of water filters doing so here. We can see this. Yellow dot will be our cut off frequency. That means that after it, things start to dip down. Okay, So you imagine if this is a graph, this is volume, and this is low stuff over here and high stuff over here. So you can adjust it here in the same way we did with, um, analog. This would be our cut off frequency. And this would be our residence residences gonna boost the cut off frequency, remember? So it's gonna spike that up right there before it goes down. Okay, so let's hear what that sounds like. You're on there. Okay, You can give it a little more volume. Okay, Now we can add an envelope to it. How much residents we have there? Maybe we just want a little bit of noise on the attack like that. Or, um, we wanted to sustain kind of a bit. So you were right around there. Let's turn our mail it back on. Okay, Now we're getting kind of a complex sound, right? Uh, a little quieter. OK, cool. We'll come back and program one of these in just a minute. Now, what we've looked at so far is just what we're hitting. Remember, this is kind of a percussion physical model modeler. So we're We've been looking at what we're using to hit the thing, but we haven't looked at what we're actually hitting yet because we're in the exciter. Okay. The exciter is what we're using to hit something. The mallet, so to speak. Um, we also have the resonator. That's the thing we're hitting. Okay, so we've got a bunch of parameters for the resonator. But what I really want to look at up here is this setting. So we're heading a beam marimba, string, membrane plate, pipe or tube. Let's go to strength. Let's hear it. Okay, so now we're hitting a string, right? With a kind of a soft mallet way. Hit it with something harder. Sounds like that. Okay, We consent the size of that string. Let's go full subtle. Got some filter parameters here. Actually, this is more of an envelope. This is a weird way of doing an envelope, but this is the way able to does it sometimes. So turn that around and you'll find some different our parameters. Now we have a second resonator that we could turn on. Right? So now I'm hitting also a mean at the same time. Seems it to a marimba. Turn the volume of our 2nd 1 down a little bit, and then you can use this copy to to copy toe. Want to duplicate if you want, and then you can use this in the middle to adjust both of them if you want. And then, of course, you can go back and add an LFO. If you want to mountain LFO, let's see where we can apply it. So down here we say to Let's have it, That's my toe are mallets stiffness? So now our mallet stiffness is changing by this LFO rate and it's not really obvious. Let's do it by wait. So now it's turning it up, up and down based on the LFO, because I've applied it to the volume kind of hear it, cutting it and cutting out there That's the main guts of collision. Basically, what we have as a oscillator is the mallet in the noise. And then we have this resonator section which we can also sort of think as influencing our oscillator kind of, um, the LFO when filters. So these ones physical models work a little bit different than, um, other kinds of synthesis. But if you kind of think about it right, you can still find those kind of key elements in it. Let's do another experiment and let's program something from scratch using collision 14. Programming Collision: Okay, so let's go back to the default. Someone's gonna drag fresh collision over here. And then here's what we've got. Okay, so we've got a mallet. Let's add some noise. Let's do a high pass this time. And right away I'm going to change my resonator to a membrane. The membrane is like the head of a drum. Okay, let's do Ah, that's kind of a cool sound. Kind of like what we've got there. Okay, that's cool. Let's run with that. I'm pretty happy with that sound. Um, I could extend this noise out, right? That's not terribly interesting. I could let it resonate. There seem an envelope that we saw before. Okay, Like it like that. Just have that noise. Give us an extra little kick in there. More residents here. That's pretty great. Let's tune. This straightening is down and active, so this is a semi tone tune. So in order to get it down in active, we have to go down 12. I don't like that as much. So let's go back to how we had it was gonna press the delete key to get to zero. Let's add in resonator, too. That's a little over the top, right? Let's take resonator one and copy it over the resonator to Okay, so now resident to let's tell this one back. Let's try taking this one down and active. That's when the volume of it down a little bit raise the size of it. Way dio a little more complex sound. Right? That's cool. I like it. Let's go to resonator one. Now let's Pan. Let's just a little bit left resonator to just a little bit right just to make it a little bit wider feeling, I'm gonna turn resident ITU down. Just another touch. It's just a little over the top, but check this out. Let's make a new MIDI clip now and now we could do some kind of wild drome stuff. I'm just going to kind of randomly place, um, notes some fast notes. Ah, and see what we get here. How about that? You know, it's a little fast, Um, because I wasn't looking my grid resolution. Let's double that up. You double that up again. That's kind of cool way. Have some cool, low stuff in this. Like, let's take let's take a couple of notes and drop him down inactive some of these lower ones way. That's pretty cool. So we made this kind of pitched percussion instrument here. Um, I like it. I think that's ah pretty cool sound. Um, you could use this for, like, auxiliary percussion stuff and something. It can be really cool. Um, okay. So, uh, that's collision. I'm gonna give you this patch just like I did before, so I'm just going to save it. I will save it as 17. Collision patch hoops patch. Um, so if you just dragged this in, uh, you'll be able to load up what we made here. If you want to goof around with it. All right, let's move on to electric. 15. Lives Electric Synth: Okay. Next, we're gonna look at the electric. Now, The electric is, um, another physical modelling sense. Ah, but this one is designed not for percussion. He kind of sounds, but, um, electric keyboard sounds and in particular think about like a Rhodes organ. A war. Let's or keyboard, um or ah, vibraphone. Um, looking at this synthesizer as a vibraphone is a good way to learn. It has got a mallet for damper. Pick up. Um, look into that in just seconds. So if you're not sure what, um, our roads organ sounds like Which is kind of the most typical, um, sound for an electric keyboard. It's beautiful sound. It's awesome to use, and I love using it. Um, probably the most famous song that has it is, uh, the intro to this song. Roads by Porta said, Get it like the name of the song. It's upon its about roads, but roads is actually spelled R h o a. D s. So it's got like, a double meaning. But this intro, I guess, is a live version. But that's okay. I'll leave you in suspense on that. If you don't know that song, check it out. Is a beautiful song, but that's what we have with the roads. Or again. Let me get something out of it here, right? Who? So that's kind of the most typical sound of it. Um, so let's dive in and, ah, learn how to program this sucker and make some of our own sounds. 16. Electric Basic Outline: Okay. So for this one, instead of thinking about a Rhodes organ, which the insides of it, Because, remember, we're doing, like, a physical model of it. So knowing how the thing works, um will really help us understand how the synth is working. But let's think about, um, a set of vibes by a vibraphone. So you've got a mallet, right? Just like what we had in the in the collision. You got a mallet, like, how hard are you hitting it? This is our force. Stiffness of the mallet. Ah, and then some noise elements here as well. Okay, so let's do our infinitely repeating note. Okay, so it's hit it harder. Uh uh, Get a little more overtones when we do that. Stiffness of our mala OK can add some noise elements into it if we want oh, to get a little more more overtones on that led to into it. So the fork the fork in in a set of vibrant in a vibraphone, is like the piece of metal. The thing you're hitting, right? So? So the the metal resonator is actually called the tine, and then we can change the tone of the time So let's see if we can get a little different color. Out of this way. Turn our noise down. Force up. Uh uh uh uh. Not much different here. Uh ah Ah ah Ah. Uh huh. Okay, we can just thea level of the time. I'm not getting a lot of difference in the color of it right now. On that's okay. That just means that I probably need some more noise to really hear that. Uh uh uh uh, or something else will come back to that in a second. Okay, The tone, uh, waken just the tone of the fork of a damper is like, it's actually like on a fiber phone. There's, like, a foot pedal where you can definite It's kind of equivalent to an envelope on the pick up. You know, we're imagine we've got a microphone on this thing on. Where is it that will affect the sound? What if they're right? Uh uh uh uh uh uh uh OK, so there's a lot of different things we can do here. Here. We've got some tuning weaken dio voices. That just means how many notes you can play at once. Really? Um, so that's the basic flow of electric. Um, for this one, let's grab one of the presets that are built in and see if we can do a little deconstruction of it to figure out what they did to get the sounds that they got. Let's go to a new video, do that. 17. Electric Preset Study: Okay, let's go into one of the presets for electric here. Um, and let's look at look at Ah! War. Let sir Wehrli Every sorrow just had, uh There we go. That's pretty different. This isn't a early, but that's OK. Oh, okay. So let's analyze it. So I'm gonna turn that repeating note off. Um, so we're hitting it pretty hard. We've got our force all the way up our stiffness about halfway. So we're reasonably hard mallet and whacking it pretty hard. We also have our remember these velocity and key. They were flipped before, but in this synth they're different. So our velocity, that means the harder we hit it, the velocity is gonna adjust. The volume is gonna adjust while the velocity is the midi word for how hard we hit the key . Um, that's this this parameter right here. Okay, that's our velocity. So that is going to change the force and the stiffness, which is great, because that means if we hit it really hard, the force is gonna change, which is what we wanted to do, right, cause that's what it would do in real life. Um, we've got a decent amount of noise more than half more than I had before. Uh, the key, the note that we play is affecting the time. So, um, where we hit it? Let's hear huge level change there, there we go. Way get a little noisier once we get all the way up to the time of that one tone is reasonably quiet. Whoa. Not a lot of it in there, but if we crank it up, we get some really interesting sounds. The dampers pretty quiet. Not too much damper on it on the pickup. Symmetry right in the middle, distances all the way back in. Handouts are pretty high. So we're getting a little bit of, um, kind of ah, distorted sound from that. Like being up really high. Okay, so that's how we're getting those cool keyboard sound whenever you need. Like, just like a really nice keyboard sound. That's not an acoustic piano, but something different. Think about, um, using the electric. It's great for that. I use it all the time for, um, keyboards. 18. Lives Impulse: Okay, let's look at impulse really quick now, impulses. Kind of more of a sampler than a synthesizer. But I want to talk about it here rather than later when we talk about the other samplers because I want to show you kind of how it works in relation to since. Okay, this kind of ah, super simple drum sampler. Okay, so what we have in impulse is all these boxes and a little play button on each box, right? This looks pretty similar to a drum rack if you've looked at those already so I could go in to my samples, find sound. There we go and just dragged that right onto one of those boxes. Okay? And that's gonna play the whole loop. But what I have is all of these settings for each of the boxes. Now, what happens is this works the same way that a synthesizer works. Except that this audio file is no my oscillator. Okay, so just flip in your head. Oscillator is now an audio file, and then everything is the same. We can adjust the pitch, the filter, The envelope is here. Volume is there. So we've got a lot of different options and a couple more. OK, so a couple different options, for example? Um, I have a start point. So if I don't want to start right at the beginning, I can crank that up. I also have this decay. So, Aiken, make that kind of function as an end. If I want to get just that kick hoops, let's solo this. Let's let's go back down there and just play. Okay? So I pulled this two k down, So all I'm getting is that initial kick. If I crank that up, I'm going to get more of this loop, and then it's gonna fade out over time. This is just like an envelope, right? Get a little bit more perfect. Okay, um, when we find a snare, it's cool. Let's grab that one. Okay, let's pull back our decay that just get, but we want a little bit more. Got extra little clique in there. Still got it. Okay, there we go. So, no, I got a kick and snare. And remember, all of these settings are unique. To which ever box we've clicked on. Okay. So I can adjust a filter for the kick or a filter for the snare separately, right? I think I really want that on there. Actually, start time, transposition. I can change the pitch of it, right? Posted lead to get that back can stretch it out, make it a little longer if I want. Now, one of the main things that's different here is that if I make a midi clip now, what you see is instead of all the note that I have in this midi clip here I am seeing just each of those things that they call a slot each of those boxes. And these two are the two that have notes on them. So if I wanted to do kick hoops, kick kicks there, snare in the world's most boring beat, I can do that. All right? Like a mess this up a little bit. Now, the length of this mini note isn't gonna matter because it's just gonna hit off that sample so I could do stuff like this. Maybe just those velocities to ramp up a little bit. Put that back on the off beat there at an extra beat at an extra stick here. You can see where we're going with this. So let's look at some of the presets and see if we can build some grooves with, uh, impulse 19. Building Grooves With Impulse: Okay, so I'm gonna go into impulse and look at some of these presets. Uh, let's try. I remember when I click on it, what it's showing me is it's trying to kind of show me the sounds that are in this kit as best as it can. It's kind of cool. Let's throw that on this track. Now let's look at our mini clip. So now we have all these different sounds. Let's hear what my, uh, silly little beat sounds like now. Okay, lets go up, Teoh. Let's see, we got Ah Shaker is a high hat. Got some delay. I what? This high head is. Okay, let's cool. Let's add at this all the way through. Cool. Um Shaker Sidekick. Let's try to keep up this hit like that. Kind of cool. I want another little walk it. Turn the velocity of that down. Just a hair. It's cool. It's kind of dark, right? Okay, so let's go into our machine and see what's happening here. Okay, so here's everything we have. Let's say I want that would block to have a little bit more punch to it. Dio can turn the pitch of it up. Kapanen Aiken volume, I can add a little filter and really push the residents. That will give it a little bit more bite right around there. Here we go. Okay. And then here's all our effects that they've put on this preset for us. Okay, We can click and open these up, so we're kind of in Iraq here, but, um, if we want to turn these effects off and hear exactly what impulses giving us to sit these yellow dots, that's it. At that delay back in, filter in the saturate er way. Get some really cool, dark sounds. So check that out. Um, you should have these presets, By the way. They should be just in your version of live if you open them up. All right, let's move on to tension. 20. Lives Tension Synth: Okay, so with tension, tension is another physical modelling synth. Um, this one is designed to be a string. OK, so, um, this is actually like our oldest physical model. Um, like physical models were kind of discovered with, ah, string hitting a string. That was kind of our first way that they were discovered by a group called by two people. Then when one of them's name was carpal, Isn everyone was strong and the algorithm is called the car Pless Strong algorithm. Fun fact. You don't need to know that to use this, though. So here's what we've got. Um, we have a number of areas here. So the exciter, right? We've seen this before. Ah, that's what we're using to hit the string with. Okay. And here we've got some kind of four things. Ah, Bo weaken boa string right. Hammer weaken. Just hit the sucker. A bouncing hammer. This sounds a lot like if you've ever sat with a guitar and, like, balanced the pencil on it, it's what that sounds like Appliqued Rome is a pick. So any kind of pick. Okay, so let's say, uh let's, uh oh, okay. And let's just hear what we've got by default Here. Also low this Ah ah ah ah! Relatively. Not pretty. So let's keep Cohen. Um, we'll say how hard we're hitting it. The friction, the amount of friction in it, the velocity. Um, we can add some damping parameters and then we can also a sign key or velocity to modulate those. Ah, let's go. Let's jump kitty corner down here to body. So if this was a guitar, what was this size and shape of it? So we could say guitar weaken, say extra small, extra large and everything in between So, uh, ah changes a little bit. Uh uh uh Ah, you can hear that, like, very subtly changing the sound. Let's go to termination thing. I think here is short for finger finger mass finger stiffness and fret stiffness. So imagine you have a finger on a guitar and you want you have like a ah, really big finger. Big finger mass. It's gonna dampen the string a little bit. Uh uh uh terribly There. Uh uh uh uh uh uh uh is pretty gnarly pretty quick, right? Let's go up to our damper. Oh, Okay. So let's before we mess with damper. Let's go over, Teoh. Pick Right. We get a little more easier to deal with. Sound here with pick. We can adjust the damn pitting the position. And we're looking at Damper. Now, remember, stiffness of the damper. Okay, let's go back to a guitar sound large guitar. And we have some filter settings here that we can adjust. However, there is a much bigger filter over in this tab here. So here we can really give it a filter, the residence and an envelope, an envelope and LFO and then some keyboard settings to control it. Okay, so let's look at some of the presets for attention. 21. Tension Preset Deconstruction: Okay, so I'm gonna open the presets here for attention. We've got a lot of options. Let's go to something really kind of, um, Ambien Here. Let's look at that one. That's so that one on here and see what they did. Okay, so that's what we have. We don't hear it really opening up because we have just these really short notes. It's at a longer note. Do a really long note way. Okay, now we're really hearing and open up, so we're blowing it with a good amount of force. The friction is high velocity is low velocities where we're getting a lot of that noise before. No termination, no pick up the pickup We didn't look at before, but you can kind of place where the pickup is. Let's see how that alters should be a little bit brighter when it's a way up. Let's turn that back off to go back to the pre set. So we have this generic body type and small make that extra large at a little more mid section of the sound. Theo the small There damper is off. Let's look at what our envelope is doing, so envelope is slowly turning up, right. Our filter is way high, so we have a band pass, so we're just letting his higher stuff through. If we open that up, we get a little more lower stuff. But they really want the high stuff to come through here. Theo. Sharper attack on it doesn't really have the same character. Great. So, um, fun stuff with tension. Let's look at one more while we're here. Let's look it in a kind of normal string. Uh, a normal string sound. Now, remember, this isn't a sampler, So if you want to make really realistic sounding orchestra, this is not your way to do it. Um, you want a sampler for that? Uh, but here's sort of a violin and you that we have kind of what you'd expect. We're bowing it. We do have termination on there with some finger stiffness and mass of damper. Small body. Interesting that they used small piano for the body. Our filter ah, are filter and envelope are both off. Um, we are getting some LFO, though. Where is that coming from? Probably in the strings. Oh, vibrato. Right here. So in the string section, we have a vibrato setting that's turned on just to give it some nice vibrato. That's essentially another. LFO is what that's doing. So we could turn one on here and have a secondary LFO if we wanted. But that vibrato. Whenever you see vibrato, you're essentially looking at an LFO. Let's turn this into, uh, extra large, extra large piano. I always go to the extra large piano because I think it sounds funny. It's kind of a team sound. So, um, so that's the tension, Uh, the tension, since not like the tension is in like anxiety. Let's go on to my favorite of all the sense operator. 22. Lives Operator Synth: Okay. Last but not least. Let's look at operator. Operator is, uh, in my opinion, the probably the most powerful sense and live. You could do a ton of stuff with it. So let's look at what we've got here. So what we have here is an oscillator here, and this is we're gonna call this oscillator a okay. We have another oscillator us later. Be another oscillator postulator. See? And Miller us later. Later. Deep four off. Laters. Okay. Over here we have an LFO and a filter. And this we can kind of call an envelope. This is our pitch envelope. Ah, and some transposition spread. We also have envelopes inside every oscillator. Right? This is our graphic for an envelope. Every oscillator has an envelope. All of this stuff changes depending on what we're click down here. And then we have this. This is probably the biggest power behind um, operator. Here's what's happening here. So keep in mind a B, c, d. And their colors, right. Yellow green, teal orange. Now look up here. Okay. When they're all in a line like that, that means D is going in to see which is going into B which is going into a and every time I say going into I'm But I should be saying is modulating They're modulating each other so we're only hearing a but a has been modulated by all the others. Then we go all the way to the other end and we see all four oscillators coming out on their own. Okay, so here we have just straight up additive synth, right? Like four oscillators coming out in between. We have all these other variations of oscillators modulating each other. Okay, so like, here we have oscillators see modulating oscillator be which is modulating oscillator A which is also being modulated by oscillator d right now. How you so which one of these you select will radically change your sound? Um, let's look, let's let's try it. So here's our just single note. Okay? Oops. Let's change our loop back being that case. So right now, we're only hearing us later A. Because it's the only one with volume up. Hey, we could also turn off B c and D, and it won't make a difference. Okay, so here's also later a can change its envelope making a short sound or make a nice long since. Let's add an oscillator. Be given volume. Get fine. We have to oscillators Same way form, right? It's not gonna sound all that different way forms right here. So we can either select a bunch of different options here. Sign saw square triangle noise. Or we can just draw something to be in a way, we have just created a bizarre away form. Bizarre way forms are gonna have a lot of overtones, which means they're gonna be buzzy Bee bee bee. Okay, so that's oscillator to know. Let's go. Here, Do this. Now we're hearing both of them coming out as normal. If I go here E now we're hearing e oscillator. Be modulate us later. A right the last two squares in the B B B. Go to other ones. B b. We're not gonna hear it be radically different until we add 1/3 without 1/3 1 With this one . Let's change it, Teoh Triangle. And let's change the of it. No, let's look at our settings. Here's all of them. Coming straight out. Here's all of them going into each other, right? Very different. Uh, e right. So we could do that four times in four different ways. That's this one. Goto a square. Once I start modulating and start giving it use, we get weirder, weirder stuff happening once, probably wearing a lot of our buzzing from okay, so really cool stuff. Really powerful, since that can be rearranged to work in a ton of different ways. Let's look at some of the presets and just kind of dissect them a little bit. 23. Operator Programming: I guess if I open up oscillated operator here, let's look at Let's look at Synthe, Miss. Pretty wild. Let's check that one out. Okay, so let's see what they're doing. The first thing I want to look at is how they have their oscillators arranged. So we have this one. So oscillator d is modulating a B and C. OK, so that means we're not directly hearing oscillator d, but it is controlling. Ah, these other three and interesting ways. So that means that let's look at the tuning of these three. Because my first question is, where is that cord coming from? Right, so the fine tuning is all the same, but we're on different octaves. Active to three and two. Okay, let's hear just oscillator one way have here you have a really open envelope. So quick attack. Long sustained way. Have this square wave Haven't lfo going filter on no pitch envelope? But that's it. That's here. Be way. Have different active Look a lot higher. Okay, let's hear. See? Okay. Much longer. Sound also much more mellow. Sound hitting that filter quite a bit harder with this one. And if we hear d by itself We're not gonna hear it right, because it its output is being sent to these other three. That's just DNC. Noisy way. Interesting way. So we've got some attitudes, stuff happening here. So how are oscillators? Arranged two and two, right? So d is not even on. Okay, so keep that in mind. So a is being modulated by Be on a is coming out and then see is being modulated by D But he is off, so C is on its own. Okay, so let's hear. Just a Okay, so we hear some interesting tuning stuff. Let's see where they're getting that obsolete. I didn't look at this oscillator section yet, but note that there's envelope and oscillator up here. Okay? So that out of tune feeling is coming from the spread right here. All right, so it's kind of that kind of like what we saw before Where that unison mode that would be, You hear very much. So pretty much everything is in a for this one, but his modulations aren't doing a whole lot A little bit of noise there, giving us a little bit of color there. Remember that when you're modulating something, turning up the volume on the modulator is essentially turning up the modulation amount right? Because if if B is modulating a and then I crank up the volume of B, what I'm basically saying is modulate harder. So remember that if you want to hear the modulation more, crank up the volume. Cool. So there's a infinite number of things you can do with operator. I mean, just look at all the presets it has. It has more than anything else. I think so. There's tons of cool stuff you can do play around with. Operator. Okay, so I made this little session of goofing around with all these different sense. I'll just give you that, Um, if you want to download it and play around, you're welcome to it. So I'll give you that in the next section, and then we'll move on and talk about the brand spanking new wave table 24. What is Wavetable: Alright, it's time to talk about the new wave table synth that's in live. So remember this is only alive 10. So if you're not in live 10 you're not going to see this. So let's start with talking about what is a wave table, since there are other wave table since out there, um, I think serums wave table ah, massive does some way of table stuff. Basically, the kind of simple explanation for what's happening here is we have a wave table you can imagine as it's like to wave forms that we can scrub between right we can move between him . And it's not just that, um, were mixing two waves wave forms together. It's actually that we get all kinds of weird wave forms in between, like their morphing together. OK, here's a good example. Um, this is what this is the kind of default of ah, wave table, the bottom. We have a sine wave. Okay, at the top, we have a square wave. Okay, so here's the square wave and here's a sine wave. But what we can do is as we go up, watch the orange line there. It's morphing into the square right, so we can say I don't really want this sign. I want this one in between, which is a goofy wave form that's neither signed nor square. It's like elements of each. So you can think of a wave table as almost this infinite list of wave forms that air in between point a or wave form and wait for B. There's all these other ones in between there, and we can take advantage of those interesting way forms that are in between them, right? So this is a simple example. If we go here, we confined all kinds of goofy ones. So here's the bottom one. Here's the top one and everything that happens in between Theo, right? You can get some really fascinating sound. That's what wave tables all about. Now, the way of table since itself has a lot more stuff in it. So let's go into looking at, ah, looking for our basic properties of a synthesizer in here. That would be our oscillators are filters are envelopes and our amplifier 25. The Wavetable Interface: Okay, so let's look at the basic wave table interface, right? It's not that, um it shouldn't be all that unfamiliar to you at this point. Um, because we have our oscillator section here, right? It's the wave table, which, remember, is just a more complex version of the oscillators that we've already seen. You have a 2nd 1 here that we can play with. They have transposition tone octave. So some basic tuning stuff. We have envelopes and filters over here, and then we have some modulation envelopes that we can use over here. Right. Um, so we have amplitude envelope here to control our sound. Make it nice and short. Uh, then we have other envelopes that could be applied to different things here, too. You haven't lfo We have volume, so nothing. Eyes two out of the realm of familiarity, right? Oscillators, filters, envelopes, standard stuff. Um, what makes this really powerful is obviously the wave table section and the ability to, you know, automate the wave modulation way control this way. All right, so let's get a little deeper into what we can do with this next 26. Wavetable Sub Section: he first Let's talk about this subsection here. So, uh, what we have here is the ability to basically add on, um, a quick little sub base. All right, so I turned it on. You probably can't hear it. It's quite low. So this volume is for the sub base. If I turn up the tone, we'll get some overtones on it, and then we should be able to hear a little waken drop it down lower. We can transpose. So a lot of fun stuff just from the sub. Um, let's crab in e que So we can really see what we're doing there. Okay, so here it is without this Just looking my way from there. Now I turn it on. See, all this power we get down here might not be coming through in the video, but even like to the tone down, we've got a lot of big fat signal down there, so that gives us a nice big sub base. That's just there in one quick little button. So if we wanted to make a cool bass sound, we could go here. That's may be in play with our filter a little bit. Now, I've got a really meaty base. Uh, right. So really great for those low sounds with this sub trigger here 27. Wavetable Modulation: now, another element we have that will help us make some really cool use of our way of table. Is this matrix up here? Okay, so what we can do is we can go to this oscillator. One position that's gonna be our wave table and turn it on the LFO. Let's turn it up kind of a lot because I want to really get this in there, okay? And so now the LFO is controlling the wave. The wave. Right. So now if we play no, right, we're scrubbing through. Slow that down a little bit right now. We're getting some really cool sounds because we're not on a single wave at this point, we're scrubbing through all of these waves, right? Change this way from just to be triangle. So it goes up and down, you know, kind of set pattern. Let's try it with a different, um sound. Let's do to fifth. Brutal. All right, so we're just scrubbing through this. You see which way for has got a really cool interface? We could start a little higher if we wanted Thing doesn't have very far to go. So really cool sounds by using this matrix and setting the oscillator position to control to be controlled by the LFO, or we could set it to be controlled by the amplitude. Also So aton of fun stuff you can do with the wave table. It's really dynamic, really. Ah, wild new instrument that we've got to play with here. 28. The Simpler And The Sampler: all right. Something to talk about these samplers. Now, remember what I said earlier? That a sampler works exactly the same as a synthesizer. Except the wave form that we're looking at is a sample rather than ah Wei form. In other words, instead of the math that we were talking about before we start with a sample and then from there, everything else applies. So we have filters, envelopes, um, amplifiers all the same stuff. Now, the samplers in live behave, have some extra little things. There are two main samplers that we're gonna look at. One is called, Ah, the simpler that we're looking at here. And one is called the sampler that we're looking at here. Okay, um, so the differences between these are I mean, the biggest difference is obvious, and that's that The simpler is more simple than the sampler, right? Um, the simpler actually has really good uses, though. What we do with the simpler is when we get into working with racks and especially, like drum rex. What we're doing is we're creating simpler is all over the place for each drum sound. We'll see that once we start working more detailed on racks, which will do in just the next section after this so well, really simpler is, will be really important. For that. Samplers are more for like, building like a big like orchestral library, or like something that has a lot of samples in it. Um, so let's go through each one. Eso Let's start despite looking at the simpler. 29. Using Simpler in Classic Mode: So the first thing we need to do with a simpler is give it some sound, someone to go into samples. Ah, find something. Maybe not as annoying is that screening room's bad. Okay, here's the high hat. I'm gonna drag that sucker right into the drop sample here, spot. And then there we have it. You can also, By the way, if you have a sample out in your session view or arrangement view, you can just click and drag and drop that right down into the simpler. So here we have it. Um, Now, what's gonna happen if I take a MIDI file? Like, let's use the same one that we've been using? Okay. It's not quite gonna Oh, it is gonna hit it. I'm just not so look okay, it's gonna hit it now. A sampler is gonna transpose it right as as wherever the pitch is. It's so when I play notes on my midi keyboard, you can see him playing along. So now that we're in, we have a sample. We can see how we're playing it. We have a couple more properties, right? We have gained. We have this start position. Um, how the loop is going to behave if it's gonna loop the length of it so we can trim it down to not play that whole bit. So if we just want to be this first chunk on, then it will stop. We can set it toe loop if we want. It doesn't make a lot of sense in this case, but we can ah, warp it. We can treat it as one beat multiple beats or however we want. So we also have our envelope which is here. Attack, decay, sustain and release. It looks different, but it's still Theo Envelope, Right? So the attack is the first part. So if it's all the way down, is gonna attack right on. If I turn this up, it's gonna be a slow attack. It's gonna fade in. It doesn't work all that great on a symbol. And over here on the controls, I having more parameters have a filter in an envelope, right, and turn it into kind of wood box hit, or I can leave it as it waas open this filter back up and then my LFO section in the middle . Okay, now what interesting about simpler is that we have three different modes that it runs in. So right now we're in classic mode where it's just gonna pay sample as you would expect it to. Let's look at the other modes in a new video. 30. Simpler in 1 Shot Mode: okay. We can also use simpler in what's called one shot mode. This is cool for doing like fast percussion e type things with odd samples. Found sounds, stuff like that. What we have in one shot mode is a lot less settings right up here in the black area. Still the same stuff down here and what we can do here is we can say either trigger meaning . So I pressed the key once and we hear right or I can say gate, which means when I press the key, it the sounds stop the sample stops, assumes I lift up my finger from the key. So I'm down, up. Don't right? So it's going to stop as soon as I lift up my finger. So it's one shot, right? It's just gonna be bam bam, bam, bam! So that could be cool for Let's say, Let's do something like this or we want to do something gnarly like like that was gonna pull like machine gun style. If we're in one shot mode. That's what that sounds like, right? So let's look that and switch to the trigger mode. So now we're in gate right where it just stops immediately. But if I turn on trigger right, the last one is gonna play all the way through gun. Attack it as many times as I give it, but it's not gonna let me. Ah, stop that last one. Once I've picked up my finger, it's gonna let the sample finished. So that's the main thing in one shot mode. Uh, now, let's look at slice mode. 31. Simpler in Slice Mode: So what I can do in slice mode is I can take the same sample and just double click to make little markers. Each one of these is going to get their own key. So here's Middle C theme. Next note up. Theo. Next note. Next knows next note. So it's automatically going to figure out what many note to assign these to Theo. So you can really quickly play between these. This is more useful in like a drumbeat. That's fine. That's kind of fun. That's not a beat. But I was gonna drag that in there and in slice mode. It's already figured out where those transients are. Remember, transients are like little attack points. So now I can play on my keyboard and I can bounce between each little slice very, very quickly. And obviously you can write that in as a midi file, too. There's our same one. Let's take this midi clip, this one we started with and try it. That was kind of cool, right? Let's look that look at that midi clip. It's not just this part, all right, that's totally red. You would make that even some cooler. I'm kind of going off on a tangent now, but, um, I love delay to that. Me? Not so much right now. You've got a really awesome sound. Could change the frequency Your filter just to give the modulation a little color. That's a really great sound. So some of the fun things you can do with, ah, the slice mode 32. Using Sampler: Now, let's go to sampler. Okay, So I have an empty sampler down here If I go to my samples and do the same thing, Drag. Okay. Lets just drag something simple under there. Okay? Now, you might be thinking this doesn't look wildly more complicated than simpler. So but just hold on to your hats. It does get a bit more complicated, but at first go. Oops. I'm still in my other one. It's working the same, right? Transposing my sample based on what pitch I play. Um, I can reverse it. Um, I can snap it to the grid. I can change the route key. The root key is what note I play on the keyboard in order for it to play on transposed. Right now, it's at sea three. So if I play a C three on my keyboard, it's gonna play without transposing it. Uh, contains volume. Um, panning the sustained mode is kind of cool. That's like when I hold it down, what's it going to do in this case? It's gonna play to the end and stop here. It's just gonna play from beginning to end over and over and over until I let go, and this is kind of a boomerang. It's gonna play from beginning to end and then from end to beginning, beginning to end and the beginning that can be useful. Um, if you're trying, Teoh make like a pitched sound and you don't want to hear the end of it. If you set up your sample just right, it's kind of tricky. Um, you can make this sound like a seamless sound in, um, this boomerang mode doesn't work very well with this kind of sound, although the kind of a cool thing. Okay, And then some other parameters for loop, start, loop, end, cross fade, stuff like that. Okay. And then over here, we have an oscillator we can apply to it, which is really just an envelope and a pitch envelope as well isn't gonna do anything in our mostly non pitched sound. Here in this tab, we've got more filters and more envelopes. Some modulation, things weaken, turn on modulation, which would be like an LFO. That's a modulation element and some stuff for our midi control. We can do some custom map ings for what's controlling what here. But the real power of the sampler is in this zone setting. This is where it gets a bit more complicated. See, all this stuff that just popped up up here doesn't look like much right now, But let's look at a full ah sampler preset, and then you'll see how gnarly this could get. Let's go to a new video and talk about that. 33. MultiSamples And Zones: Okay, so I queued up this electric bass open sound. Now what we have here is a sample of a new electric bass and it sounds really good, right? That's a really good bass sound, because it's a sample. Now, if we look at the zone, let's see what we're looking at here, OK? We have a whole bunch of different stuff now. What's happening here is each one of these is a different zone, and when I click on it, you can see that it's playing a different part of this sample, right? So what really can happen here is that each zone can be it's entirely own sample. Now, what this is showing us is when we play notes in this range, we're gonna play this sample when we play notes in this range. Just one note. We're going to get these samples right, This range, the samples. So there's a lot of different samples all the way up, right? So why is there see 123456 different samples for every zone, right? Because we're only looking at the key. So based on what note I play, it knows to play one of these six. But if I go to velocity, this is how it knows how to play. Which one of those six. Right, So this is saying 12 or three for each of them. So that's narrowing it down to two, based on how hard I played it. And then we have this selector parameter, which is narrowing it down again between those two. So this is super complicated, right? This is like a ton of different samples built into this one, um, instrument. And the reason is, the more samples you have in a sampler and this is true of all samplers. Um then both the bigger it is, but usually the better it sounds. The big sample libraries that you'll pay thousands of dollars for those have, um, you know, hundreds of different samples in them. And that's why they sounds good, because the key is not transposing hardly at all. It's on Lee transposing on these really low notes. I go all the way back up is really low. Notes are transposing by, you know, about 1/4 not very much. And there So the more we transpose that, the more fake it sounds up here. These are not transposed at all. Each one. Each sample gets their own hit right, so it sounds really accurate. It's like a single recording of every note on the base way. It's pretty great sounding. So that's what you can set up with. Sampler is building these really complex instruments of sounds. Let's look at an orchestra library, which is a really good example of how this works. 34. Sampler Orchestra Library Example: Okay, so here I have an orchestra library. Now, this isn't This is this is not standard in the live, um, insulation. So you might not have This is an extra one that I have. So you see, this has 300 samples in it. Let's look at zones and let's pull this way open. Okay. So, again, one zone for every note, an insane amount of samples. Okay, so if I know So here's the note I'm playing. I go all the way down, I could find it. It's around here somewhere. It's one of these four. And then based on how hard I play, you're different samples. Right? Um, so we've built a really complex system here, So to build one of these, all you do is go to zones and then you can just start adding new zones. You can't do it in this one because I've made it or it's already built. But you can add new zones, add new samples and just keep building it. From there, you can define what goes per what sample based on the key here, philosophy or some kind of selection. So this one has no selection. But the selection parameter might be. That could be anything that could be modulation. Amount. Um, so some kind of modulation or setting. So check out this sampler. When you download and buy big samples, sample libraries. They're probably going to be in sampler format, and they might live in your pack section. By the way, that's where this one is cool. So those are the live samplers. Now let's get really powerful and talk about racks. 35. Instrument Racks Overview: all right, up next, we're going to talk about racks. Now, this is something that we've been waiting talk about for a long time. One of the most powerful things in live. In fact, when I first learned live, I was talking with, ah, one of the guys that able to turn and he said, This is actually during my, um, certification event. So not when I first learned live, obviously. But, um, one of the guys able to when he was saying, How do you describe live? How do you tell people what live is in? Like one sentence and that sentence was live Is session view arrangement view racks and max for life. Those air like the main components of life. So let's talk about racks. Um, so there are three different kinds of racks. There's a drum rack, there's an instrument rack, and there's an effect rack if we go into effects. Ah, that's not in audio effect rack. And so there's an effect rack. So let's talk about instrument racks. So we've looked at drum racks briefly. We're gonna look at those a little bit again, but what we have here if we just throw the rack onto a track. We have kind of nothing like it doesn't really do anything. Um, So what we have to do is put stuff into it. So let's say I'm digging on this'll instrument. It's gonna throw that into my rack. Okay, so now I have an instrument in Iraq. Wouldn't it be cool if I could have more than one instrument on a track? Now, I get asked this a lot. I get asked a lot if you can have more than one instrument on a track and the answer is no , unless you're using Iraq. So in order to get another instrument on here, I'm gonna click right here, and I'm going to say, actually, I could just drag it right into here. So let's say let's take a wave table base. Super gnarly. Drag it right there. Hate. Now I have two instruments. Okay. I can see that instrument if I go hear what actually through on here was another rack. Another instrument rack. Things get really complicated racks kingo into racks which can go into racks which kingo and directs. This can get really bizarre. Let's add 1/3 instrument. Um, let's get outta wave table and do Let's do a sampler. Um, mallets. Things aren't working right? So let's dio filtered piano. So I have three instruments in this rack. However, um, I have a little bit more to set up before I can really use this. And the other thing we need to really set up is the chain and the chain selector. Let's go to a new video and talk about that. 36. Chains And Chain Selector: Okay, So each instrument here is on what's called a chain. If I play a note now, that's although this strike. What I'm gonna here is all three instruments at the same time, which can be cool. That might be what? That's kind of not, uh, interesting, but we've just accidentally made. But what we can also do is click on this chain button here and I will give us a little more control over our chain. Check it out. We've got this little grid here, so I'm just gonna open these up by clicking on the right side of its when. See him a little bit better. Now if What if I did this? Okay, what's happening here is wherever this blue line is, that's the instrument him on the way. Right. And the way this blue line is moving right now is just I'm clicking and dragging it. But what this is designed to do is be mapped. So let's go into our midi mapping mode, command em click on that chain area, and then I'm gonna move something. So now if I go out of many mapping mode and I move that I now have control on one of my So I mapped this to a MIDI controller. So now when I play right, I've got a dial right on my keyboard That's controlling which instrument I'm hearing. So, in this way, I could set up, you know, different instrument for every track in a song, and then just switch between my instruments this way, right? Just moving the slider. It's really convenient, right? However, there's other ways. Um, check this out. This is where stuff gets really interesting. What if I did this? I'm gonna let these overlap. So right now, if I have my chains lecture right about here, and I played some notes on here both right, Cause in that area, both are on same thing for up here in this area. Those two are on. But if you look close, there's a tiny little line up here at the top. Grab that line and do this the opposite here. Now what I'm doing is cross fading between instruments. Oops. Sometimes a little tricky to grab that line. So what I'm doing now is when I'm right here with the chain selector, that's what this little blue line is called. Now I'm hearing about half of the 3rd 1.5 of the 2nd 1 right? So now, as I move the chains of later, right, I'm panning through instruments. It's totally wild. It's so cool that you can do that, right? So the chain selector can let you more easily flow between instruments. Now, in this way, you could design really complex instrument, right? There's other ways you can do it. Um, if we click on this key setting, this will let us say which part of our keyboard is active for which instrument. So here we can say when I play notes down here, be this instrument. When I play a note a little higher, be that instrument. Right? So, um, now I'm switching instruments based purely on what notes I play. Same deal here with velocity. I can say when I play really quiet. Have be the first instrument. Middle volume. Be the second instrument and high volume be the third instrument. So now I'm playing really quiet. You can't hear it. It's really quiet. A little louder. Second instrument and louder. I'm on the third instrument. Cool. So these three ways can all control our, um, switching between the chains You can also mute a chain solo a chain panna chain differently if you want. There's a lot you can do with the chain selector, but there is more yet you can do with instrument racks. Let's go new video and let's talk about Mac Rose. 37. Macros: Okay, let's take some. Well, let me just explain Macros first. So this little dial here, actually, the button, The button that has a dial on it. I click that we get our Mac Rose. Okay, Now, we've looked at Macron's before way back. And I think this second class we looked at macro is really quick. Um, here's what Macron's are just as a refresher. Let's say, um, we don't want to look at all of this while we're working on a track. We just want to scale it down to a couple things we want to look at. Let's say our filter frequency. So I'm going to control click on that and say map to macro one. Okay, now, out here, filter frequency. And let's say our LFO rate control click map to macro to Okay, so now I have that for this synth, right, cause that's what I'm empt. Is this chain Um so now when I move this and I can map this now to a physical controller, if I want same way I did with the chain selector a minute ago so I can turn this and we see the frequency of our filter moving right. This is now controlling that. Here, I can get a lot more complicated with it. I can go down here and I can say here filter one frequency map to its own macro. So I have access to my second chains Filter frequency. Or I can also map it to the same filter. One frequency. Now I'm using it. Right. Let's get LFO rate. I don't have LFO rate. I have lfo mod time. Um, but let's put wave position on its own macro here. Let's actually let's put let's take that off. So I'm gonna control click on it, hit that again to unmapped it. And then let's map this too. Ah, lfo one speed. So this macro to now has a couple things on it. Okay, it's got, um, my wave position and my LFO rate. Let's go to our third chain. Let's put filter morph on macro to and let's put reverb time on macro to So now I've just put Atanas stuff on macro to okay. That means that macro to is going to be controlling, um, a ton of stuff and what we've done is really dismayed kind of ah, single knob that's going to control a bunch of high energy stuff. Okay, so I'm gonna open up my chain selector again. So I hear all, um, all instruments all the time. Same thing with key, This one. Everything on. Okay, check it out. I'm gonna move this macro to It's gonna just all those parameters that wants I think I just make one all these things for me. So it could be a really complex, um, way to modulate your instrument by having all of those modulations on one knob so you can just be like, Boom. Um, here's my awesome knob. In fact, a lot of people when they program these things, they specifically make an awesome knob. You can go, um, you can rename this command are and call this awesome. You can, um, change the color of it to read. So just turn the awesome Now, definitely. Don't make a suck knob. You could do that with this technique. You could make a knob that did a bunch of really stupid things called Suck. Now, try to avoid turning that up, but don't do that. Okay? Let's look at some presets of instrument racks to see how this this kind of works in action 38. Rack Presets: Okay, so I'm gonna delete my whole rack here and let's go into instrument racks and let's look at some presets. So let's say like a pad. We looked at a good patent. Dense. Let's check that out. Okay, so this particular one, it only has one chain on it, but it's got a lot of Macron's mapped right. If we look at the instrument, it's got a sampler and not much else going on. We've got a lot of things. We've got a river been here also, which you could do. You can throw that in. They just got a lot of complex map ings. So not a great example to show us one with a bunch of different genes. Let's try. Okay, here's an acoustic one are, well, one designed to sound acoustic. So this is a bassoon section, so I've got a lot of macro is made. We have two chainz sustain and release. So if we look at what controlling these chains, it's not the key. So they're both all on based on whatever key we play. It's not the velocity. They're both all on for each velocity we play. That's not the chain. They're both all on good in the chain isn't mapped to move. So how are we controlling these? It's probably that they're both all on. See, when I play a note, we're hearing a sustained while I hold it down. When I let go, it plays the release. Uh, right. So this release must be a short sample for each note. That is just giving us a nice, clean cut off. Ah, of the instrument, which makes sense. I could see that happening. Let's see if we can find another one. Maybe like, ah, multi instrument one. Ah, I woodwind ensemble. Okay, here we have three chains. We have sustained low tones and release. They're all on by key. They're all on via velocity. And they're all on by our so a similar thing here I go really low now. We didn't see this set up in the key settings because they're using a sampler here, so they probably don't have any notes for the low tones. That s so we're not getting anything out in the low tones because there's no sample midi key input is happening. That happening, But there's no sample's assigned, so it's just going to know we don't get any so but on the way, Big old bass clarinet, uh, love it. So that's what a couple of these look like. 39. Drum Rack Review: Okay, let's look in our drum racks again. We've looked at these before, but let's do a little refresher. And there's also a couple of new things. I want to point out that we didn't before. Um, first is that each of these pads, uh, can be treated like a chain. Okay, so check it out. Let's do, um let's put some samples on it. Okay? Here's a kick. An audio file. So when I do that, what do we have? We have a simpler right it through a simpler on there. So keep that in mind. When I just threw an audio file there, it made a simpler which means this is an instrument, so any instrument can go on this. I think we saw that already. Um, let's make some other stuff here. Sure, there's a conga. Here's a clap. Just throwing these on and kind of random spots. Let's do some would stuff. Well, club. Oops. I jumped all the way up. I want to go back down there. Okay? It's only just in air. I like that initial hit. Okay, so remember, we just have a simpler here, so Ah, and I know how to use that so I can adjust the length of this to just get that initial hit . Let's hear it. There we go. That's all I want. I don't want any of this stuff, so this just changes the length. OK, now let's look at our chains. Okay? Each one of these made a change. We can audition is here. Same as we can audition down here. Do you have a couple extra settings here? Which are quite interesting? Um, we have if you look down here, we have an I o button that we didn't have in an instrument rack. And we have this S and R s and R might be familiar to you. You've seen, sends and returns. So let's go to a new video and talk about how this area works. 40. The Choke Setting: OK, There's two main things I want to talk about, um that are extra to the drum rack that we don't have an instrument rack. They are the choke setting and the sends and returns. So let's look at the choke setting. This is really important. Teoh drums. So let's say you've got to samples. Ah, hi Hat and well, let's do it. Let's make a, um hi hat. So a closed high hat. Let's put that right there and an open high to put that right there. Now we have a sample of a high hat closed and open to separate samples. But if this was the real world, we only have one high hat, right? So these can't happen at the same time, That wouldn't be possible in the real world. Not to say that you have to emulate the real world. But if you do want to emulate the real world, that's what this chokes heading is for. What we're gonna dio, we're gonna sign these two things to a choke group. It's called, so I'm just going to say one. It doesn't matter what group. Um, just select one that you haven't used yet, So this sign these both to the same one. That means that these two sounds cannot be happening at the same time. So if I was to play this, let me map these two just to a key, so I can do it really quick. I can't do it too. So if this one, if this one was gonna be sounding and this one hit, it would stop that one from happening. That's what chokes doing. Just like when you hit a symbol and you grab it, right, That's choke. So this is what controls that. We don't have this an instrument racks, and we could do it with anything. We could say. This kick, it's a sign of group five. And this jug, um, are snare assigned a group five. Those can't be hitting at the same time. Now, that's maybe not so useful, But you could do it. That's what the choke does. You could sign everything to the same group if you wanted, so that only one drum sound could be happening at once. That would be weird, but you could do it. We're not gonna notice that here in this were playing something really fast. Um, but ah, the primary uses that high hat thing, but also maybe if you've got multiple snare drums or multiple kicks or something like that , or if you're doing pitched stuff, which we would also do here. By the way, let's look at that really quick. Let's say I threw on here, Um, an analog Mrs. Throw an empty analog onto this note. But how does it know what note to play? That's the question, right? It's in here, receive and play. So that means when I play the pitch see, too, it's going to play the pitch C three. Okay, so I could change this to say when I play the pitch before I wanted to play, you know, a four Whatever. Now I gotta go find before Ah, it's not that one. Not that one. I think I'm too high before it plays a four right, so you can assign the pitch for any instruments you put here if you need to. If you did a sampler, you don't really need to. It's just gonna play it at its root pitch, which means untranslated, unless you tell it to do something different. OK, now let's look at these Senden returns, and let's go to a new video for that 41. Sends Returns in Drum Racks: Okay, so I'm gonna hit this return, but notice that the S the send button is great out so and it's great out because I haven't made a return yet, So when I had a return, it says drag audio effects here. Okay, so it's good. Drag an audio effect there. Uh, let's do, like a ping pong delay. Let's plot that right there. Okay, Now, notice. This is different. This is a chain, but it is a different kind of chain than the others. Doesn't have the receive play or choke command possible here. So, um, but now I have sense. So if I click on sends, I go back up here and I can send to that. It's just like our sends and returns in the main two views, except it's all contained within the rack. So I can say, send some of that, too, that delay. And now we've got you know, this Ah, snare is heading to that delay. Right? So you can do these sends in return couplings all within the drum rack, and you can make a more complicated to you could say, um, let's do do a Flander as a separate chain, right? So now I can say send a send be Send that also to that, you know. So now I've got right. So sends and returns right inside the drum rack so you can build really thick and dynamic drums from doing this once you set everything up to be exactly how you want it. 42. External Instrument: Okay, so we have now talked about all our instruments except for this little bugger. Ah, let's throw that on something So we can just look at what it is. It's called the external instrument. But this is gonna let us do is talk to any hardware devices that we have. So if I had, like, a hardware synthesizer like an analog synthesizer, um, I could send Midi out to it and get audio back from it really easily, right. I could say media's gonna go out my quartet, Channel one, because I have a MIDI output there. And then, ah, it's gonna come recorded in on Channel one, which is currently where my microphones coming in. So that basically makes this act just like an instrument track. Um, but through an external piece of hardware, right, I don't have anything that I can use to test it. Actually, um, I don't have a lot of analog hardware here. Um, it's not really my thing, but ah, and sometimes you need to do a little bit of late and see testing to get it to line up just right, but And you don't need the external instrument. There's kind of a long way around of doing it. Just threw this stuff, but it requires two tracks and some extra finagle ing. This just makes everything easy. That's all the external instrument does. Okay, so that's all our instruments. So up next, I'm gonna give you this file. It's not an extremely interesting file, but at least you'll have something to play with. Um, it's got, you know, this stuff and all the instruments laid out one per track, so you can goof around with it if you like. 43. Up Next: All right. So we have reached the end of Ah, Mableton live 10 class four on all the instruments. So you should be pretty comfortable with all the instruments by now. Coming up in the next class, we're gonna be working on audio effects and many effects. So, um, the not only how the audio effects work in live but kind of the proper usage of audio effects. Um, and what the's MIDI effects do, which are kind of strange. Many effects are a weird little little bunch. Um, but also, how to make your production sound the best. Using various audio effects, how lined them up, set them up. And, uh, what they all sound like We'll be going through every single one in this huge list. Eso stay tuned for that. Okay, Stick around. I got a couple more things for you really quick, and then we'll wrap up 44. Thanks!: All right, so this is the end of the end. Ah. In the very next segment, I'm going to give you the bonus lecture mailing list. Sign up all that good stuff. You'll find a bunch of codes in there to get all my other classes nice and cheap. Um, including the next able to attend class, which will be out very shortly, if not at the same time as this one. I think it's same time. Is this one thing really small it once? I'm not sure yet. Um, so please check that out. Thanks for hanging out. Thanks for being a part of this class. Um, please stick with it. We're almost at the end of all of our Mableton. Live, 10 craziness. So check out that download, PDF in the next video, and we'll see you the next class by 45. SkillshareFinalLectureV2 (2): Hey, everyone want to learn more about what I'm up to? You can sign up for my email list here, and if you do that, I'll let you know about when new courses are released and when I make additions or changes to courses you're already enrolled in. Also check out on this site. I post a lot of stuff there and I check into it every day. So please come hang out with me and one of those two places or both, and we'll see you there.