Ultimate Ableton Live 11, Part 5: Audio and MIDI Effects | Jason Allen | Skillshare

Ultimate Ableton Live 11, Part 5: Audio and MIDI Effects

Jason Allen, PhD, Ableton Certified Trainer

Ultimate Ableton Live 11, Part 5: Audio and MIDI Effects

Jason Allen, PhD, Ableton Certified Trainer

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64 Lessons (3h 41m)
    • 1. Introduction

    • 2. M4L Effects Vs. Standard Effects

    • 3. What are Midi Effects?

    • 4. Arpeggiator

    • 5. Chord

    • 6. Envelope MIDI

    • 7. Expression Control

    • 8. MIDI Effect Rack

    • 9. MIDI Monitor

    • 10. MPE Control

    • 11. Note Echo

    • 12. Note Length

    • 13. Pitch

    • 14. Random

    • 15. Scale

    • 16. Velocity

    • 17. Three Types: Dynamic, Time, Frequency

    • 18. Amp

    • 19. Cabinet

    • 20. Drum Bus

    • 21. Dynamic Tube

    • 22. Erosion

    • 23. Overdrive

    • 24. Pedal

    • 25. Redux

    • 26. Saturator

    • 27. Vinyl Distortion

    • 28. Compressor

    • 29. Side-Chaining With the Compressor

    • 30. Gate

    • 31. Glue Compressor

    • 32. Limiter

    • 33. Multiband Dynamics

    • 34. Auto Filter

    • 35. Channel EQ

    • 36. EQ Eight

    • 37. EQ Three

    • 38. Envelope Follower

    • 39. LFO

    • 40. Shaper

    • 41. Beat Repeat

    • 42. Looper

    • 43. Auto Pan

    • 44. Chorus-Ensemble

    • 45. Corpus

    • 46. Frequency Shifter

    • 47. Phaser-Flanger

    • 48. Resonators

    • 49. Spectral Resonator

    • 50. Spectral Time

    • 51. Vocoder

    • 52. Delay

    • 53. Echo

    • 54. Filter Delay

    • 55. Grain Delay

    • 56. Hybrid Reverb

    • 57. Reverb

    • 58. Audio Effect Rack

    • 59. External Audio Effect

    • 60. Spectrum

    • 61. Tuner

    • 62. Utility

    • 63. What Comes Next?

    • 64. Bonus Lecture

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About This Class

This course is "5-Star Certified" by the International Association of Online Music Educators and Institutions (IAOMEI). This course has been independently reviewed by a panel of experts and has received a stellar 5-star rating.

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Welcome to ULTIMATE ABLETON LIVE 11, PART 5: Audio and MIDI Effects!

In this course, we will use the real-world experiences of the award-winning instructor and university music production professor Dr. Jason Allen. But don't be worried - Dr. Allen is best known around campus for keeping things simple, accessible, useful, and fun.

Dr. Allen is a professional musician, top-rated instructor, and university professor. In 2017 the Star Tribune featured him as a "Mover and a Shaker," and he is recognized by the Grammy Foundation for his music education classes.


In this class, we are going to learn Ableton Live 11, and every aspect of the program. We will focus on how to do everything possible in Ableton Live, and you will finish this course as an expert in Ableton Live 11. Whether you have experience in music production already or not, this is the ultimate class to learn how to use the Ableton Live 11 software for any genre of music.

ULTIMATE ABLETON LIVE 11, PART 5 is everything you need to start making great tracks!

This is a really deep class - tons of content, tricks, and tips. Throughout the different "parts" of this class (there are six total) I'll go through literally everything I know about Ableton Live 11, and everything it took for me to become a Certified Trainer. I'll share some of my own tracks and give you some full sessions from my library to play around with and get you started.

In this part of the class, we are going to cover how to use the Live 11 software to make professional-sounding tracks by taking advantage of the huge selection of audio and MIDI effects built into the program. Including:

  • What are MIDI Effects?

  • Arpeggiator

  • All the MIDI Effects in Live 11 Suite

  • The 3 Types of Audio Effects

  • All the Drive Effects (Distortion)

  • All the EQ and Filter Effects

  • All the Modulator Effects

  • All the Pitch and Modulation Effects

  • All the Time and Space Effects

  • Compressors

  • All the Utility Effects

  • And Much, Much, More!

I will be making 6 (six!) complete "parts" 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 about Ableton Live in a more comprehensive way than this.

The course is a roadmap to MAKING STUNNING TRACKS with Ableton Live 11.

All the tools you need to produce great tracks are included in this course and the entire course is based on real-life experiences - not just academic theory.

Meet Your Teacher

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Jason Allen

PhD, Ableton Certified Trainer


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.

... See full profile

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1. Introduction: Hey everyone, welcome to Ableton Live 11. In this class we're going to cover all aspects of Ableton Live, from just learning the program to recording, to producing, two deejaying, mixing, mastering. Everything is going to be included in this huge multi-part class. This is Part 5. In this part we're going to focus on audio and midi effects. And then it goes through every single audio effect and every single midi effects included in Ableton Live 11 suites. That's the most that we get in the context of doing this. I'll also teach you how to use. Some of them are common effects that you may have seen before, like compressors, limiters, various kinds of distortion and tools that you might not be familiar with in detail. This class will serve not only as a great class to beat you up to speed on all of the effects in live. But also as a reference because we are going to go through every single one. So bookmark this class because you've come to it whenever you don't know how to use something. So what actually is in Ableton Certified Trainer, people who have that credential, I have gone through a fairly rigorous process with be able to accompany to prove that not only you're an expert at the program, but also you know how to teach it. So the actual process of getting the Certified Trainer stamp of approval is a two-part process. One, you have to prove that you're a super ninja and the programs. And two, you have to be a really skilled teacher or else they're not going to give it to you. You see somebody that says there aren't able to Certified Trainer, like me, you should know that that's someone who Ableton itself has given their stamp of approval after a very rigorous process. It's not just buying a certificate. I had to do two or three day lying exam that included a lot of teaching demos. And in addition to that, I've been out to their international conference in Berlin to present unable to topics to the entire international live community. So it wasn't easy to get. I'm pretty proud of it, and I'm hoping to bring the benefit of it to Europe. 2. M4L Effects Vs. Standard Effects: All right, Let's talk about effects now. First and foremost, in live 11, our Max for Live effects are just mixed right in with our normal effects. Okay? So I've talked about this a little bit in the other classes, but let me reiterate and go into a little bit more detail on this. So Max for Live is this kind of programming language that lives within live. You can be an expert at live in totally. Never touch the max programming language. You don't need to know how to program to use live. Um, that being said, it's actually a pretty easy language to learn just by the way it works. And it's super fun and you can do a lot of cool stuff with it. But we're not gonna go into how to program those effects. In this class, we are going to go into how to use those effects though. So you can think of the non Max for Live effects as their own little programs that are built into live. You can't change them, you can use them, and they have a lot of parameters that we can adjust. But you can't like open it up and like reroute it. Think of it like a car. You can with the built-in effects that are not Max for Live. It's like a car with the hood padlock shut. Like you can't go in there and tweak the engine, right? Which is probably good because you probably don't know how to go in there and tweak the engine. The engine is just going to work and we're going to be happy with that. But you can still drive the car with Max for Live. You can go in there and drive the car all day long. And then when you have an idea for how to make the car better, you can open the hood and add some, you know, Turbo thrusters in there if you want. That's the main difference. So we can tell when we're using Max for Live because of the icon. So these are effects. This one with extra little lines coming off of it as a Max for Live effect. Let me just show you what this looks like. Here's a normal effect. Okay? Here's the effect, right? Just normal. This is a midi effect. Now let's look at this one. Okay, here's normal effect. Here's a Max for Live effect. On first glance, they both look like effects. There's nothing about this one that screens Max for Live except this little button here. This little button is how you unlock the hood. That's how you pop the hood open and see what's in it. If I click on it, it's going to launch max. And then it's going to show me the code that I can then alter. Okay, so here's what it looks like in Max. If I open this window, take it out of presentation mode. We see all this stuff, right? This is the code of Max for Live. It doesn't look like code how you might think Max for Live Code, so to speak. This kind of huge amount of patch cables and things like that. But that's what's cool about this as you might say. Okay, let's just find something here. So here we have divide by 3. That's cool, but maybe you're thinking, Hey, you know, it would be cool is if we actually divide it out by like ten. So if you track this down and figure out what that number does and you say, I want that more extreme. You can just say, Okay, cool. Divide by 10. Boom. And now you just put in turbo thrusters into your car. So I'm not going to save that. And I'm going to close it because in this class, we're just going to use Max for Live devices. We're not going to open him up and learn how to reprogram them. I am going to make a class on how to reprogram though then though, because it's really fun and how to make some of your own from scratch. So just know that when we're looking at affects, Max for Live effects are buried in here. And you don't really need to pay all that much attention to what's a Max for Live effect and what's not a Max for Live effect? Because they all kinda work the same. But that's what these two different icons mean. 3. What are Midi Effects?: Okay, so we're going to start with midi effects. So midi effects are effects that will affect the notes, not the sound. Okay? So what I've set up here, just for our little purposes of demonstration, as I have too many clips, and I have one clip on each track. And in this first track, I just put the operator default patch in. And this one I put the analog default patch. Okay, So our first, our operator is just a chord progression, sounds like this. Dark core progression. Kind of Radiohead ish. And then our second track, I just put a little melody that goes along with that. It sounds like this. Okay, and together they sound like this. Okay? So I wanted something kinda simple, something with chords and suddenly with a melody just so that we can throw all of our effects onto this session and see what we can do. And then I'll give you this session at the end, if it turns out to be anything interesting. So midi effects have to come before our instrument, okay? They go right here, now, right here. Because remember that the way information is flowing through our session in a midi track, midi data's coming in here. We can see that because of these dots, right? And out of our instrument is coming sound. So the instrument is converting it from midi data to sound. Okay? So with midi effects, they have to come before it's sound. Because if it's sound, we need an audio effect. That's all of these, and we'll get to those next. But first, let's look at all of our midi effects. That's these. Now again, if you don't have live sweet, you might have a smaller list here. But in live sweet, this is what we have. So let's go through each of these and look at what they do. 4. Arpeggiator: Okay, Let's start with probably the most widely used midi effect, and that is an arpeggiator. Now arpeggiator is, you'll find arpeggiator is actually built into a lot of sense. But if it doesn't have one, if you're working with a synth that doesn't have an arpeggiator built in. Then here you go. This is your arpeggiator. So here's what it does. I'm gonna go to this track that is just my chords and I'm going to solo it. I'm gonna put an arpeggiator on it. Okay, so you'll see that as predicted, it comes before the instrument. So we have midi data coming in, midi data coming out, and then it gets converted. So an arpeggiator is going to take a chord progression and scum play at one note at a time. It's effectively going to do this. So here's our chords, right? If I do this, and then this, whoops. Say I take this and do this. Just going to duplicate this chord. You don't have to do this to use arpeggiator. I'm just trying to show you what it's gonna do. Now. It's gonna play it one note at a time. It's basically going to do this with our core that's going to play one note at a time going up and then going back down. But we don't need to do anything to our midi. So let's undo all of that. Because it's just gonna do this for us. And we have a lot of control over how it does it. So it's going to take a core progression and play one note at a time going up. So now that we've put in arpeggiator on this track, it sounds like this. Even though this is my midi. Neat, but let's make it a little more interesting. Let's look at our controls here. So style, in our style here, it's going up. So it's trying to go all the way up. Are It's going through each note we've given it. And going up. We can change that and we can say go down. Nice. You can say go up and then down. Right? Or any of these other ones that you want to play around with. I like the random ones. Random just means random notes. Random other means. Random, but don't repeat a note. And random once means, I believe, random, but only play each note one time. Which if you have two of the same note in it, random other will maybe play the same note if because it's going to play a different spot. So they're pretty similar. Let's just set it to random. You can hear repeating notes right away. Let's do random other. So it's always changing notes. Okay? We can apply a groove to get a little bit of a swing on it. Let's do a swing 16. Which we're not really going to hear it because we're only doing eighth notes. So let's speed it up. Rate is how fast it's going right now it's on eighth notes, so I will see 1 eighth there. Let's speed it up 16th notes. Now we'll hear the swing. That's about all. I know. It's time to turn that off. Okay. We may go faster. Go. Okay. That's the main part of arpeggiator. That's like 90 percent of arpeggiator, the style and the rate. Okay? There are some other weird things you can do here like transposition. You can do some things to the velocity. And you can set this re-trigger to do some interesting things. This has to do with when the pattern starts over. So if you have the pattern to go up, that's going to do do-do, do-do, do-do, do-do. Then if it's set to beat on the, on every beat, it's going to start the pattern over. So it's always going to basically be going up. In our case, if you set it to note on every note, it's going to start over. Which in our case would be the start of every bar. Right? Because here's where we get a new note. And if you set it to off, it's going to go for the whole duration of the chord, which is what it's doing now, the gate sets the length of the notes. So if you have sustained notes, you can kind of tighten them up at this speed. We're not going to hear that. But if we go down to maybe eighth notes can make them shorter, which can be valuable. One thing I like to do with arpeggiator is to do something like random other and then duplicate the track and set that one to random other. Also. Now you're getting two notes at once. And I'm getting some kind of base towns in there, so from some of the lower notes. So I'm going to select one of these and move it up an octave. Kind of close out. Maybe I'll duplicate it a third time. And take the arpeggiator off this one. So onetime just playing the notes and then to arpeggiator, kind of a cool effect. So arpeggiator is really, really common to use just to give a cord some life. Now arpeggiator is, I'm going to do very much on his melody, right? Because there's only one now happening at once in this melody. Nothing to arpeggiate. So use it on courts. 5. Chord: All right, Next let's talk about chord. And I should mention arpeggiator has some presets built in. Not a lot, but a few and so does this chord, chord one. But let's just use a router, the box. So I'm going to throw this on my melody here. So this one's actually really simple. All it's gonna do is add notes to what you've got. So let's look at my midi clip. So it's first note is an a. What I can do with this affect is each one of these is going to add a note. So I say shift one, Let's turn that to two. So two semi-tones, that is now going to be a B. So in addition to the a, so we're going to hear the a plus B. So we're going to hear two notes here. And all of these are going to have a second note. So effectively what we just did with that was that because we added it, we put a two in there, which means this would be one and now this is two. So we added a second above all of these notes. Okay, that's not going to sound very good. I found this to be a really kind of only useful to me for doing things like this. Let's go negative 12. What that's gonna do is add an octave above or below. I put negative, so it's going to be below. So it's going to add an octave below this quickly. It's gonna do that. Which in this case, I think we'll beef up that melody a little bit and some pretty good. So that's going to add an octave. And that'll be cool. I can add another note and another note. I can add up to six notes. If I want to, I could add an octave above. And this by the way, is the velocity. So I could scale back the velocity and the higher octave. I don't really want to add any more notes to this because they're going to get in the way of my harmony if I do, Let's do that. Got. So you don't really want to use this on cords because if you do, you're going to, you're going to screw up your core progression by adding all kinds of lecture notes. Unless you just add octaves to it, then it could be okay. But one case where you might want to use this is if you have like a single note and you want to just add some notes to it to create its own. That'll kind of core progression like this. Let me demonstrate. So here's a new midi track. If I did something like this, Let's make a note down an octave. And now I put chord on here. And let's add a third fifth. So minor third, fifth, seventh. If you don't know what that means, check out music theory. Now this is going to be an a minor triad. Oops, I need a sound on there. Let's put an instrument matter. No, electric. Sure. Okay, so now it's a minor triad because I added these two notes. It's only one note there. But let's say I was doing this kind of a thing. I had a lorry than that. I liked going. We're getting a little accent, I think just from the overlapping of these two notes. That's okay. So now I just took this little rhythm thing and I add it made, it, made a cored out of it. That's a cool way to do it. So it can be a quick way to just add some notes to something if you've got it. But frankly, this one I don't find to be particularly useful to me. But in the context of what we just made, it actually kinda cool. That's kind of fun. 6. Envelope MIDI: Okay, Up next we have our first Max for Live Media Effect. Let's us envelope Midea. This is actually really handy. So let's look at this that we just made. So we can automate a parameter with Midea. If we wanted to. We could go into automation and automate this volume. If we wanted to write. Good automate the damper, setting, the tone, anything like that. But we can't do like an ADSR envelope like we can in synthesis, right? When we look at synthesis, we talked a lot about, or we talked a bit about envelopes, right? And it's got that kind of unique shape to it. It's like the attack decay, sustain, release envelope. We don't really have that naturally in midi. So this little device is going to give it to us. So let's throw that on here. Okay, so now we have after our chord function, we have this, this envelope Midea. And what it's gonna do is give us this familiar envelope shape. Attack decays, attack decay, sustain release. And an amount that we can apply to virtually any parameter in the midi instrument or a midi effect. So let's click map for example. Okay, so you see it's blinking. Now is waiting for me to click on something and then it's gonna let me adjust that. So let's just do the volume. So let me actually turn off map. Let me just get this playing. Okay? So if I could map and now I click on volume, right? Now we have this envelope is controlling that. And we can do fine tuned adjustments here if we want. But let's go to another element. So let me go to the tone. It's kinda cool. Cool. It's got another parameter. Let's maybe go to court. I'm not weird. Okay. So what we're doing is we're shifting the pitch based on the envelope, which is super weird. But I kinda did it to be funny. But now that I've done it, I'm actually pretty happy with that sound. Because what it's doing is it's going all the way to the top and all the way to the bottom, which is adding two octaves or minus two. Obvious. So it's actually kinda cool. So that's what our envelope does. It's basically going to give us an envelope, ADSR, envelope attack, decay, sustain release that we can apply to any midi parameter. 7. Expression Control: Okay, Moving on to our next midi effect. This one also a Max for Live effect. This is called expression control and works kind of similar to that envelope Midea. But what this is going to let us do is take a parameter and map it to another parameter, especially useful when it comes to performing in something. So let's go back to our little melody here, and I'm gonna throw this expression control on it. Okay, So what we have here is midiin, and there's all of these parameters here, right? And then we have mapping. So what I can do is say the velocity, the velocity of the note I play on my keyboard. Okay, as I play. So how hard I play the note, I can say, I want that to not actually affect the velocity, but I want it to affect cyclic on map and the filter cutoff. So I click on that. Okay, Now how hard I play is going to affect the velocity. So let me arm this one so that midi is going into it. So if we look over at our frequency cutoff here, The louder I play, the more open That is. Okay. And I did that by mapping velocity to the filter frequency. Now what if I want it to be opposite? Easy enough, that's what these Min and max is our four. I can just crank this up to a 100 and this one down to 0. Now it's going to be opposite. Side play really quiet filters all the way. Open. Loud filter closes down, right? And I could tweak that a little bit more if I wanted to. So that maybe we don't get all the way to 0. Right? So I can take any other parameter that my keyboard is going to output and map it to something else. This is especially useful if you like, your midi controller has the ability to do something that the instrument doesn't. Like. Aftertouch is a good one. After touches, like when I play a note and I keep my finger down without lifting up my finger, I can then like lean into the note a little bit more and get soft and harder. Not all keyboards send this information. They, not all keyboards have the ability to deal with aftertouch. Mine does. So if you look at this, this little bar right here, I play a note, I get softer, harder, right? So minus sending aftertouch data. But this instrument is or isn't doing anything with it. So I could map after touch to see the LFO rate. Okay, it's cool. And then let's set the LFO to be doing something here. Right? So I can control the LFO. Slowly turning that in an off by slowly pushing down and using the aftertouch data. I'm going to reverse it and scale it back a little bit. It's actually really hard to control on this keyboard. But you can do fun things. But basically it's just going to let us kind of re-map midi parameters to another midi parameter. 8. MIDI Effect Rack: All right, Up next another rack. Know we've seen Instrument Racks, but here we have midi Effect Rack. Okay, So we could throw this on something throat here. And it looks familiar from when we looked at Instrument Racks in the previous class. And it basically works the same. So we have an empty rack here. We can throw a whole bunch of things on it. In fact, I could just drag this arpeggiator right in there. Now the arpeggiator in Iraq. We also have chains. Okay, so what can I do with a midi effect rack? Well, now that we have this arpeggiator on it, that gives me actually a couple of ideas. I can only put midi effects in it, but what if I put a bunch of different arpeggiator in it? Right? If you haven't seen the video on Instrument Racks, please look at that. It'll make this and make a lot more sense. So I have three or four different arpeggiator is here. And let's say I want to trigger them with velocity. So if I play a quiet note, it's going to be that one. That arpeggiator I play a little bit louder note, it's going to be that arpeggiator. Know that arpeggiator. And that arpeggiator, that's maybe spread those out a little bit better. Go. Now, depending on how loud or soft I play a note, It's going to trigger a different kind of arpeggiator. Let's try that. New I got both. I could do. I could also just make an insanely interesting arpeggiator by just letting off for happen at once. I really like that. Neat. I've never had good luck with midi effect racks making anything interesting, but that's actually pretty interesting. So let's leave that there. Let's hear how that sounds in the context of my whole goofy tracks. Kinda cool with that. So midi effect rack, you can put a whole bunch of media effects in here, control them by velocity key, where we could set a key range for each media fact. Or we can just use the chain selector to turn them on and off. By mapping this, we still have macros that we can assign to anything. So basically works exactly the same as Instrument Racks. Now, we are going to get into, in this class audio effect racks, where we will go into the gory details of how to build an insane audio effect rack. So I highly encourage you to check that out. We'll get there shortly. Don't worry. The midi effect rack is less useful than the audio effect rack. The audio effect rack, I think is one of the most powerful things in life. So stay tuned for that. But for now, let's move on to our next midi effect. 9. MIDI Monitor: Okay, next, let's go to midi monitor. Now this sounds less interesting than it is. This is a way to just look at midi data coming in, right? Boring. But it actually, there's one thing that is incredibly useful. I'm going to throw it on this chord progression here. Okay, Here's what it looks like. It's going to tell us what notes are coming in right here we see the notes playing. It's also going to show us these things which we can show or hide by clicking on them. Okay, so I can see CC data, that's continuous controller data that's things like anything that's like a slider or like yeah, like sliders and knobs and things like that. Pitch bend is the pitch bend and a keyboard after touch we just talked about, that's that data that comes after. And C6 means system exclusive. That means like unique things to some keyboards. Like if you have a keyboard that has some special ability that no other keyboard has, that's going to come into the computer as what's called a cis x message. But that's not the most interesting thing. Here's the most interesting thing. We get this chord. If you don't know theory very well. But you've made something and you think it sounds cool and you want to know what chord it is. Just like here. I just analyze our core progression for us and it's right by the way. Let's look at it on an arpeggiated thing. So here we have our crazy arpeggiator effect rack. That's a good one. Now it's a less good at knowing what coordinate is because there's just so much moving around. So many Effect Rack or the midi monitor is going to show you what midi data is coming into your track. But more importantly, more importantly, more interestingly, perhaps, if you want to know what chords are playing, pop that on there and it's going to tell you, let's see how deep it's knowledge is because I'm kind of a music theory dork. Let me just go here. Okay, So if I just play, Let's see if it knows seventh chords. Yep, C dominant seventh. Major seventh chords. Okay, it's some weird stuff in here. Well, it knows a lot. Okay. Doesn't want to give me a SAS. And what does yeah. It's an interesting thing to call that. Anyway. It's pretty good. And there's a lot of courts. 10. MPE Control: Okay, Up next, another kind of utility is np control, and this is Max for Live device. And what this is going to do is actually let you kind of play around with the MPI data coming in. Now, what that is is it's newly incorporated into live 11 and it's kind of like some extra midi parameters that were not available in older versions of live and not available on some instruments or some midi controllers. But some midi controllers do have due output and PII data. So what this will do if I throw it on something. This is gonna take in MPI parameters, specifically these three, pressure, slide and pitch. And let us move them a little bit. So this is our input, this is our output. And we can kind of say, I want my minimum to be up higher, my maximum to be down lower. And then like make a nice little arch to that. You can even create a second and arch that. So you can set parameters for these three elements and just kinda make them do what you want. So it's kind of a way to craft that MPI data a little bit. If it's coming in. We're not currently using MPI data in this project, so I don't need it. But if I was using some instruments that took in MPI data from a keyboard that had the ability to send and PII data. Then I might want to use this to kind of fine tune how that data is coming in. Long story short. This effect lets us scale the minimum and maximum of these NPV parameters. If you're not using these MP parameters or MPA at all, don't use this fact. 11. Note Echo: Okay. Out of the woods with some of these kind of utility things and back to some more effects. So note echo. So there's also a new one. Here it is. And it looks like good old-fashioned delay, but it's interesting to note that it's not an audio delay to Midea delay. So this is going to delay our notes going into our synth. Now in this case, it's not really going to matter. And in most cases, I don't think it's going to matter too much whether or not you're using an audio delay or midi delay. But it's important, I think, to remember that this is actually midi delay, its notes coming in and nodes coming out, but not sound. So if I take our little melody, so now I've got this delay and everything works pretty much the same as a normal delay. We've got feedback. I mentioned this feedback down a little bit. And we put this here. You can add a transposition if you want. Whether or not you want to hear the original or not, is going to be through or mute. It works the same as an audio delay, but it's a medium delay, which is to say effectively you're delaying numbers rather than delaying sound. 12. Note Length: Okay, It's good to note length. Let's throw this one on to this kind of short little percussive chord that we've added. Okay, So with note length, we're basically going to be able to adjust the length of all the notes. So we can say, here is the note length. Let's make it longer or shorter. Okay, we can gate them, which will kind of open and closed the sustain of the note. So at a 100 percent, it's it's a 100 percent of the note length. But we can make it twice as loud, or twice, or half as dividing them in half. Right? So what part of the node is sounding versus how long the note is. This mode is time, which means we're going to set the note lengths to be number of milliseconds or seconds. In this case, we can switch it to sync mode, which is going to set it to a division of the beat. So we can say we want all notes to be eighth notes. And they're going to sink to the tempo. Now it's important to note this isn't going to speed up or slow down your notes. This is going to add empty space in between the notes. It's just going to make the length of them shorter or longer. But if you make the length of your notes a lot shorter, It's not going to pull notes in front of those back and just move everything quicker. It's going to insert empty space in between them. So it doesn't really change the rhythms at all in terms of when your notes happen, but it changes them in terms of the duration of them. Otherwise, fairly simple. We've got some decay time and release time. If we set our trigger mode, if we set this to note off, we have some release velocity and decay time that we can play around with. Node off would be like the end of the note. And that can be the action that triggers the note length. But most of the time I leave this on note on if I'm going to use this, and I just want to take a whole chunk of metadata and just make it longer and just like make it all kinda washed together. This is a good way to do it really quick. 13. Pitch: All right, I'll next pitch. Alright, super-simple one on pitch here. All this is going to do is take everything and transpose it. So let's solo this one to go higher. Maybe a better example of pitches to use this chord. Let's go back to this. If I want all of these notes, everything in this clip, everything on this track, actually, to be one note higher. I'm going to do that. Right? This is, this is an all or nothing situation here. Do we want every midi note on that track to be higher or lower? Because we can go negative. If yes, crank this up. If no, leave it alone. Perhaps the use of this would be like, let's say I've decided to change the key of a song. I might say, Okay, well we're host empire now. Or I have a bunch of midi clips on here. And I just want to take this whole track up an octave. And we do 12. The whole thing up an octave. I can be cool. For me, this is a hard one to use because what will happen for me as if I say, like let's say I decide to transpose this up two steps, two semitones, right? So this is at two. But then I go look at this midi data and see that I've got this a here. But that's not an a, that's a B because I've transposed it up. Now I'm all confused. I'd rather just move the midi notes so that I can look at the nodes and know what I'm doing. So this is a tricky one for me to use, but if you have a need to do something like that, then that's what it does. 14. Random: Okay, Up next random. This one's actually really fun. Let's put this on our melody. Okay, here it is. What random does is it's going to randomly pick notes for us. So what we do here is say chance. So chance is the likelihood that the incoming note will be changed to a random note. Okay, So let's say a 100 percent. A 100 percent means every note coming in is going to be not the note that gets played, but a random node is gonna get chosen. Okay, So choices 12 is going to be an octave. So this is the random note that's gonna get chosen is going to be random between one and this number. So 20. Let's leave it at 12 and then multiplied by this number. And it can be and this number that's generated. So in this case it could be up to 12 because 12 times 1, but if I want it to be much bigger, 12 times 5, it's going to be a much bigger number. It can be added, subtracted or buy, which means added or subtracted. So let's say by, let's leave it at 12. And now let's hear our melody 0. And we have chord on. Let me turn cord off. There we go. Okay, So by is actually doing sometimes both. So let's leave it on AD. So we can see it's only going up. This delay is kind of throwing us off. We should put this before the delay. That sounds quite a bit better. Go back to buy. Okay, cool. Now, this creates problem though, because you're thinking what on earth usefulness is that because you're just generating random notes. But what if we could bang those notes into a specific key and we could limit those nodes to only being in a specific key, right? Then we might actually be able to generate some randomly interesting stuff. And as luck would have it. Our next effect is something that does exactly that, that will take any number of nodes and bring them into a specific key. So let's go on to that next effect. Now. 15. Scale: Okay, scale. What scale is going to do is you can think of scale is kind of like a midi note, pitch quantize or what it's gonna do is it's going to take all the incoming notes and then force them into a specific scale. So let's throw that on here. Okay, Here's scale. Now this interface is kind of drives me mad. I don't know if it's like my weird dyslexia or not, but I always find this really hard to wrap my head around. Basically. These are notes coming in and these are notes coming out, okay? So if c comes in, C goes out. If C Sharp comes in, C-Sharp goes out. So by making this diagonal, it's not actually doing anything. Okay, but let's say for every C-sharp that came in, we want to send D out. Okay, that's going to turn our C sharps into Ds. Okay? So if we go to our scale presets, we've got bajillion scales. So let's go to, we're in the key of a minor. So here's what I'm gonna do. I'm gonna go, I actually want, is a melodic minor scale. That's what I'm actually using. Let's throw that on there. Okay, so now it should be a melodic minor scale. But I need to set my route to a. There we go. Okay, Now every randomly generated note by this is going to go through this and turn it into a melodic minor and then send it to the analog. Cool. Okay, So let's hear it. Okay, kinda neat. So now we basically have made a whole new melody. Let's hear it. Okay, nothing really interesting has happened yet. But one thing that I could do with this, duplicate this. Okay, Now, in my original, I'm going to turn this off. And let's turn off random. We'll leave that no delay on. So now here our original. And let's also here the randomized. Okay, I'm gonna pull this down a little bit. Maybe even crank up the feedback on this little delay and make it be like kind of a randomized. But in key echo of our main melody that's here. We've got kind of a cool effect. Scale can be used for not just randomized notes, but just anything. If you say, I am in a specific key and I want to change it to another key. You can throw another key on there. And which is basically the same as saying scale. If you don't know what those terms mean, scale and key and stuff like that. Check out my music theory class. But you can throw it on anything and it's just basically going to take all the incoming notes and smush them into conforming to a different scale. Or key. 16. Velocity: All right, last of our midi effects, velocity. So pretty simple here. Velocity is just going to let us scale our velocities. So remember, velocity is kinda the midterm for volume. It's how hard we hit the note. So if we want to just kind of push all our velocities up, we can do that. We can kind of treat this like a compressor. It's kinda like a middy compressor and we can randomize our velocities too. There's another way to do this that we've already learned in the midi clip itself, we can randomize velocities here now, that's new. But if you want to do it the old fashion way, you can do it with this. Where we will basically scale the velocities and randomize them a little bit. Can add a little bit of life to something, especially like a drum track. If you've played in the midi drums or if you've just clicked in the midi drums and you want them to sound a little more natural. Randomize the velocity is just a little bit, just to give it a little more natural field. Okay, so that's all our midi Effects. I'll give you this track if you want to play with it. I don't think it's particularly brilliant, but it's something to kind of goof around with. Feel free to go nuts with it. And then we'll move on to audio effects. 17. Three Types: Dynamic, Time, Frequency: Okay, Now we're gonna move into audio effects. Audio effects can be a bit more complicated because first of all, because there are just more of them. But second of all, because we're working with frequency domain and there's a lot we can do with frequencies. However, we're not only working with frequency, we're also working with time, and we're also working with Dynamics. So for that reason, what we usually do is divide up all our effects into kind of three buckets. 3, any effect can really be categorized as one of these three things. And those three things are frequency effects, things that mess with the frequency, EQs, things like that. Time affects things that mess with time, delays, things like that, and dynamic effects. Things that mess with volume. We call volume dynamics. So dynamic effects are things that mess around with volume. A compressor is probably the best example of that. So that's kinda typically how we do it. However, live 11 has kind of changed the way we talk about effects just a little bit. If we go into audio effects, what they've done in lab 11 is switch everything around so that everything is categorized in these eight or so 12345678 folders. So, so they've kind of categorize them into these eight folders for us, which are a little different than those three categories that I like to talk about effects in. And that's okay. I was told that this categorization scheme was somewhat controversial around able to in HQ. But it does work. It does help you find things a little quicker. And each of these folders can really be included in what I was just talking about. So Dr. it's going to be like distortion, things that affect tone. Those are really going to be frequency affects. Dynamics are obviously going to be dynamic effects. Eqs and filters are also going to be frequency effects. Modulators could be frequency or dynamic effects. Performance is largely going to be time affects. Pitch in modulations can be frequency affects time and space is going to be time effects. And utilities are kind of going to be, none of those. Utilities are going to be some extra odds and ends. So what I think I'll do is go through each of them in these categories just so that we kind of stick to able to scheme here. And we'll start with Dr. so in each of these folders, we have a bunch of effects and each of those facts have a bunch of presets. Okay, so for the next while, for essentially the rest of this class, we're gonna go through all of the effects and what they do. Now. Fair warning, I'm not gonna go through every single knob and every parameter of each effects. Of each effect. We're gonna go over kind of what the effect does and some of its key properties. The best way to learn every single knob and button in the effect, if that's what you want to do, is to put it on something and experiment with it and explore. You can certainly find documentation for it online in the live manual or other places if you really want to know. But hopefully I'm gonna give you most of what's in every single effect. So you should know how to use every single one. Okay, So without further ado, let's dive into our drive Effects and start with AMP. 18. Amp: Okay, Let's start with AMP. This one is nice and fairly simple amp emulator. Okay, so let me show you what I have up here as our little demo track. So I've got just a quirky little drumbeat. I've got a fun little vocal thing and I've got a single guitar chord. Sounds like this altogether. Okay, Nice and simple. So let's throw this amp on this guitar because that's what it's really designed for. That doesn't mean that's how you have to use it though. This is designed to emulate a bunch of classic amps. So this is an amp emulator. We have clean boost, blues, rock, lead, heavy, and base. So in the documentation, it doesn't really tell you what these seven amps are modeled after, but they are modeled after actual amps. And the graphic is a pretty good whew, right? You've probably seen, this is probably a fender blues dividend or something like that. This is probably a Marshall stack. Like these. If you're a guitar player, this is pretty iconic looking. I can't think of the name of this one right now, but okay. So you could dial up these presets. And these aren't really presets for are the EQ that's down here. These are different emulation modes. So with each one, you can then kind of adjust a little EQ here, right? And presence adds a little bit of brightness. Okay, so let's take our guitar chord, Let's solo that and let's maybe move our loop a little tighter so that we just hear that a few times. Let's put it on clean. Okay. It's cool. Okay, here it is without that effect, right? Brightens it up a little bit. Try to boost their tone. Blues, warmer, proc, lead. That's 88. And base. This base setting is actually really nice on a bass guitar, by the way. So simple amp emulator, you know, we could take it's something like boost maybe. And then in this case, little more presence. Pull down our dry wet so that we get a little of the original in there too. In a really wild about that. And I go to bleed. Remember that in all of the audio effects, I think all of the audio facts are always going to have a Dry Wet control. And that always means the same thing. Dry means no effect. Wet means nothing but effect. Okay? So if we put this halfway, we're going to hear the chord without any effect. And we're going to hear that chord with effect. There's all of it. There's none of it. Sometimes you want that to be all the way wet. Sometimes you want it to adjust it somewhat silently that right there. That's pretty nice. Tone can also switch our output to this tool select, which isn't giving us much variation in the space. But it gives us a nice clean tone here. But you can get some really gnarly distortions with these if that's what you're looking for. 19. Cabinet: So if you're a guitar player and you know that an amp emulator doesn't get us all the way there, right? It gets us most of the way there. Right. Like if I go to this thing that I think is a bill, that one. That's the same app that I have right back there except binds a little bit different model, but that's a fender develop. So one thing that influences the tone is the cabinet, right? That's the actual box it's in and how the speakers are arranged. Ok, That one has four 10-inch speakers. Hey, that sounds a little bit different than 1, 20 and Speaker. I don't even know if they make that model, but something like that. And they make a 212, I think. So. What you can do is pair this amp with our next effect, which is cabinet, okay, put the cabinet after the AMP. And that's going to run this amp through a cabinet that's going to emulate that arrangement of speakers and where our microphone is, okay, because we make a cabinet. So I'm going to say 410. That's the one I have. And where are we going to make it? We're going to make it near on-axis. So like pointing straight out one of those speakers. Or near off access, meaning like if this is the speaker, we're going to come at it. Not straight on but off axis, or just far away. Let's go near off-axis. What kinda Mike are we going to use a condenser or dynamic and use a dynamic mic on it. Let's do it stereo or dual. And let's hear it now. It'll warmer. Let's turn our cabinet off. Right? It adds a little bit of warmth. I rather like that tone. Okay, pretty good. So Cabinet can be used on its own just to color a sound a little bit. And when I say color the sound of a little bit, what I'm saying is our frequency affects, they are adjusting frequencies. They're effectively equalizers in some way, but in much more complicated ways than just like pulling out certain frequencies. These are changing the frequencies to make it a little warmer, which means we've got a little, a little more mids and lows or brighter, which means you've got a little more highs, things like that. So cabinet can be used on its own, but it works really well when paired with AMP. 20. Drum Bus: Okay, next, let's go to drum bus. This is a this is kind of they classify this as Dr. I would classify this more as like a coloring. Just like how we were talking about how that cabinet and color and sound. This is really designed for drums. You can put it on literally a drum bus. So if you have made a track where you've got your snares on a track, your kicks on a track, hi-hats on a track, stuff like that. Group that all into a bus. You can send that all to a bus, or you can just group them on, put the drum bus on the group. Or it actually worked pretty well on a loop like this as well because it has multiple sounds in it as well. It's effectively a very similar thing. So I'm going to put it on this loop. So what this is going to do is is add some color and character to this loop. Okay, so let me just remind you what this loop sound like. A drum buses off. Okay, now let's turn it up. We are a little bit of volume in it. So this soft, medium and hard is, you can kind of think of it as distortion. It's a drive amount. So right now we're unsolved. Let's go to medium. And hard. Turnip are crunch, which are bases a little bit more. Yellow frequency on that kick. Tighten up the shape of that boom. With this decay. Remember transient means that the attacks of stops. So this is going to emphasize the attacks. And you're gonna hear a lot more of those high hats. And then we can just push the drive a whole bunch more output back. This is cool. It's gotten that little bit of like kind of almost eighties pop to the, to the kick drum now because of that frequency and pull that back just a hair actually, and I kinda like it and I think about it. Transients are little intense for me. Crunch, I like to drag but maybe a little bit less. And it's got a built-in compressor that we can use if we want as well. Which is not something that sounds particularly good at this moment in this loop. This damped controls a little bit of a low-pass filter, so less than Lowes. And so a lot of the times when you add distortion you're getting, get a lot of upper frequencies. And this can kind of help tone those down just a little bit. Pretty happy with that. Let's leave that there and keep going. So drum bus has a great effect to kind of wrap all your drum sounds together and color them all the same time. 21. Dynamic Tube: Okay, up next, let's look at this dynamic tube. This is another AMP emulator, and as you probably guessed, it's a tube AMP emulator. So a tube AMP is a specific kind of AMP that has like these kind of big vacuum tubes in them and they give a particular color. Since we've already worked on our guitar part here, I want to throw this on the vocal, just see what we get. So what we have here is a tube distortion are really more accurately a tube saturation. We have three different models of tubes and these are modeled after, just like our AMPA fact, these are modeled after actual tube amps that we, many of us know and love. Although they're not really telling us which ones, probably for a weird trademark reasons. So let's move our loop over here. Tighten it up a little bit. So we can just here this little vocal sample, solo it. So here's our vocal sample without the table fact. Here it is with to give us some drive, a town, a, a, a, a k. So the trick to this one is this bias knob is kinda going to push us in the upper, or if we go lower, the lower ranges of the tube, so to speak. And we can use this envelope follower to modulate that bias so that it kind of stays within the range that we want of the tube. Fancy way to say that you should use this bias to find the sweet spot. And then if you have something that has a lot of frequency range to it, use crank up this envelope so that it stays with it. Okay, so let's turn this envelope all the way down from the moment. You can hear that if we go way high with this, it gets all crackling. All. So we're pushing too hard. That's pretty good. A little bit. So that stays with it. Came up, pull back the straggling drive is just how hard we're going to hit the tail. And we've got a volume boost here. Now what I might do on this because it's adding a lot of crunch to that sound and I don't want to lose the original when actually pull back and dry wet so that we still hear mostly that original kind of silky sound. It's kind of a little crackle to it, um, because we're not going all the way dry. A pretty good go suddenly that one there. So two ventilation. Effectively, a different kind of distortion. 22. Erosion: Okay, Up next, erosion. Erosion isn't what some people think. I've heard a lot of people talk about erosion as a bit crusher and it's not a big crusher. A bit crusher is when you simulate lower bit rate and it gives you that kind of Atari sound. That's not what erosion is doing. What erosion is doing is, is kind of modulating in some noise. And that makes kind of noisy artifacts. It's a different way of doing distortion. Let's take this guitar sample just to give us something kinda new. Let's duplicate it and just, I don't know for something fun, Let's reverse it. Okay, so I'm just going to click on it once and press R. And that reverses that sample. Okay, and let's open our loop up so that we hear maybe That. Okay, here's what our new backwards guitar sounds like. One. Go, Let's throw erosion on it. Okay, So this is what do we want to sneak into it as our noise making thing, noise, white noise or a sign. Let's go with noise first and then kinda where do we want to center it? Let's go right about here. Okay. Can you MR. this is the amount right. You can see that here. Cag and lower where it, it sets the width. I am just going to find a y B area with white noise and assign. Right? So you're thinking it just sounds like there's noise layered on top of that sound. That's because I've got it correct. Let's kinda pull it down to a tasteful level. Tighten up the width, find the right frequencies for it. Around there. It can be a nice sound if you play with it and get it into the right area and really set it up well. But it's effectively just kinda of a different way of doing distortion. 23. Overdrive: Okay, let's go to overdrive. This is a bit of a more classic distortion. I'm going to turn off or erosion for now. So we just hear our overdrive on this. So the thing about overdrive is that it's always over driving. Even if you set your drive to 0, you're gonna get some distortion. But let's leave it at its default of 50. Let me just turn it off to remind you what the sound like. And now let's turn on that overdrive. Right? So kinda nice, warm distortion, good on just about anything. Now what we have here is a drive amount, a little bit of frequency control, or we can kinda hone in our distortion if we want. And then we've got this tone knob, which is going to color our sound after the distortion. Okay, So the distortion happens and then we can kinda boost our highs by turning up this tone. We also have a little bit of a compressor built-in, which is going to help kind of wrangle in the distortion, keep it from clipping basically. And then our dry wet amount. So if we want all the way distortion, weed, crank that up, weed crank that up. And this is about as gnarly of a distortion is you can get, It's crank that out. Braid Nita. And that's not really what I want here. So let's take that down, take that down. Take that down a little bit more in depth. Into that. Push, that compressor is a little bit harder. Let's go. If you don't understand what I mean when I say push that compressor a little harder. Hold on. We're gonna get to how compressors work in like four more videos, Five more videos, and we'll get there. So just hang on to that idea for a minute. 24. Pedal: Okay, Next we have pedal. So the way to think about pedal is that so far we have seen AMP emulators, we've seen cabinet emulators, we've seen tube emulators, and now we're seeing paddle emulators. So this is emulating three kind of classic distortion pedals, all in one. Okay, So here are our three different petals. Okay? Just like with the AMP, we've got a little EQ at the bottom. And this EQ has one kind of strange thing and that's this little toggle here. We'll just toggle is doing is setting the center frequencies for the EQ. So in the leftmost setting, we're kind of focusing on the low side, which is about 500 hertz. Middle setting, we're about one kilohertz and high setting We're at about two kilohertz. So let's just hear this. Let's turn up the gain a little bit. Leave the output at 0. That means that it's not going to boost the volume or cut away the volume. And I've put it on our otherwise undistorted sound. Here. Here it is without the pedal. Whoops, let me move our loop over. And that's without the pedal. And here it is with a lot brighter here, right? So you can say I like that, but it's a little bright for me. I have down is change your settings. We've gotten dry wet here and a little sub that we can click on to get it even earlier. So output and then again, nothing too fancy emulating classic guitar pedals. 25. Redux: Okay, you remember when I said it, erosion is not a bit crusher. That's because Redux is a bit crusher. So let's make some Atari 2600 sounds here. So I'm going to take our drum loop. I'm going to duplicate it just so that we leave our original there. And then we'll take this new one and let's throw Redux on it. Okay, so, so most audio, well, it's hard to say what most audio is, but let's assume our audio is 16-bits, 44,100, and samples per second. Okay, So what we can do is we can lower our sample rate, are actually simulate a lowered sample rate with this rate. And we can simulate lowering our bit rate here. Okay? No, The way to think about this is, the lower the sample rate, the more the computer has to guess what the samples are. And that tends to generate artifacts, glitchy sounds. The lower the bit rate, the more square each sound gets. So that means instead of this nice curve in a sound, you might have a block. And that also generates artifacts. Generally, if you want that Atari sound, you want to lower that bit rate. So let's crank that backup and lower this bit rate on this drum sample. Let's turn off this drum bus. That's pretty much it. That's just noise. Bits. Crank it up a little bit. Okay, we do have some control over the shape. So instead of that purely square thing going on, we can adjust the shape a little bit. Kind of preserving our low sounds a little bit better. Okay, let's pull back our sample rate. Area. Tower into Atari land. Jitter tends to mean kind of randomness. So introduce some randomness in it. We can add a little bit of a filter. We've got a DC shift. If we've typically we would use this if we've got some either a phasing issue or another noise issue, but because we're messing with the sample so much, this actually has quite a cool effect. It really changes it a lot because we're doing such a weird things to the the bit rate goal. So and we've got a dry wet amount so we can let some of the original through GOP. So I'm going to crank this up all the way wet. And then just play around with blending it into our original. It's really fun. And this is not just for drums, like all of these effects. Put it on anything. If you really want to make that super eight bit sound, take a whole track, throw this on your master. And then you've got like a, what's the name of that genre? I don't know. 8-bit. 26. Saturator: Okay, Let's go back to our vocal for this one. And we're gonna look at saturated now. So saturated is another type of distortion. Let's turn off this dynamic tubes that we just hear. The saturated. Saturated is like a wave shaping distortion. So we can kind of see what it's doing with this curve. So we can get a little bit more controls out of saturated or if we opened it up here. So now we've got some control over the shape of the saturation, but only if we have the right kind. So analog clip we can do soft sign, medium curve, hard Curve, digital clip, and wave shaper. Okay, so with wave shaper, we get a lot of control over what's going on here, right? We have a bunch of different kinds of saturation here, which is a way to say more kinds of distortion. Okay, so let's just hear this. Here it is off. Okay, here it is on, right? So we're really here. So if I just change it to analog clip, you can kind of hear what it's doing before I even push any drive. It's really just kind of smashing the sound through this thing in order to kind of saturate it with this shape, so to speak. So we're adding distortion with this shape. Another type of distortion. Let's create the plot output back. And with saturated or we have this soft clip option. You'll see this in a few different effects. This just takes whatever you're doing. Let's say hard curve. This will also kind of add that analog curve on top of it if you click soft clay. So soft clip a little bit more, right? It just adds a little bit more hair to it. What happens if we go drive to a negative? We're actually kind of desaturating it, which is trying to pull the signal out of that shape. So we're getting effectively in this case, we're going to get less signal. Yeah. So saturated, again, just another type of distortion. 27. Vinyl Distortion: Okay, and then probably the easiest kind of distortion is vinyl distortion. Let's put this over our original drums. Now let's not do that because you're not going to hear it very much. We do. Put it over our guitar are cleaner. Guitar chord here. Let's clean this up. Turning his pedal off. And then every vinyl distortion, it's exactly what it sounds like. Make it sound like it's on a vinyl record. So let's just turn up our crackle. Kind of increase the density. Drive, can shape it a little bit. Make it sound more real depending on what we're doing. It's kinda cool because you stop the effect. It's like still going. So the Vinyl Distortion really just kind of overlaying that vinyl crackle sound to our signal. If you want that vinyl crackle sound, US dial it in. It's nothing too brilliant. It just gives you that kind of fake land record sound. There you go. 28. Compressor: Okay, let's move on to dynamic effects. Now remember when we say dynamic effects, what we're talking about is things that are going to do things to the volume of our sound, okay? Now, obviously, this is more than just turning the volume up and turning the volume down. There's a lot we can do to the volume of the sound. So let's dive into the compressor. So if you don't know what, what a compressor does, here's what a compressor does. I'm going to put a compressor on our original drum sound. I've already kind of got one in this drum bus, so I'm going to turn that off. So we just worked with our classic compressor here. Before we dial that in, Let's look at the waveform real quick. What a compressor is going to do is smooth out the volume of all of our sounds coming through it. Okay? So we can see here this little tick is quieter than this tick, right? So what we might want our compressor to do, if we crank up our compressor all the way, then this sound is going to be as loud as this sound. We're just going to level this all off, right? It would kind of look like this. This is not a compressor, but just as a graphic. See how I'm boosting the volume here. I'm not compressing it. I'm just boosting it right now. Okay? I'm just taking our gain and just cranking it up. If I crank it up all the way to the top. Now this is clipped and crazy. Don't do this. But you can see that if this was the top line, everything is the same volume, right? It's still going to sound the way it normally sounds, but it's going to be those quieter things are going to be louder and the loud things are going to be quieter. And they're all going to equal out. Now this is bananas and we don't want to actually do that. But what a compressor will do is without boosting the overall volume, although it can, if you want it to, it will smoothies out. Now we typically don't want to crank a compressor up all the way so that everything is the exact same volume. What we wanna do is craft it in a way that will boost some of these quiet things and compress smush, some of these louder things. A great example of a use of a compressor is on a vocal. Imagine someone is singing a vocal where at 1 in the song, they're just like yelling full voice just, you know, just, just really belting it. And in another part of the song, they're doing like a whisper. They're like now when you mix that together, you need to be able to hear that whisper, right? And you also need to be able to understand the screen. So you can't just set the volume to one spot and then have that work in your mix, right? Because the, the whisper is going to be way too quiet and a scream is going to be way too loud. So what we do is we put a compressor on it so that, that whisper it gets a little louder and the screen gets a little quieter. Right? Now they're closer. They're very similar in volume. It's still sounds like a whisper though. That's what a compressor does. Now let's use one. Okay, so I put a compressor here on our drums. So how this works is we have three things here. We have our threshold GR, which stands for gain reduction, and our output. Gain reduction is how much we're squashing that volume of the loud stuff. Ok, threshold is at what point does it kick in? And then output is our output volume. What we have in the compressor hears three different ways of looking at the same information. This is one way. This is another way. In this point we have the threshold here. And then we have, so this orange ball is a yellow ball I guess is the threshold. So when the volume so here's the volume coming in. When it gets above that orange ball, it starts to flatten out. If we crank it up all the way, going to make the threshold really low. So virtually all sound gets flattened right there. But we don't want to flatten it. Usually. We want to let there be some variation, but less variation than under the ball. If that makes sense. Here's another way to look at the same thing. Here's our threshold. And in this way, we see the sound coming in. We turn this down so I can talk over it. Okay, so here's our threshold. So you just want to set that to where the quiet stuff is. The yellow line is our gain reduction. So this is pushing that stuff, the loud stuff, down to where the quiet stuff is. Okay. Let's look at it this way. Which sound? Okay. This ball, a little ball, is where are our volume currently is? So if we move our threshold over that ball, It's not gonna do anything to put our threshold under that ball. Now it's reducing the volume a little bit. And this little bit, it's called the ratio. The ratio is right here. So we can flatten that line out or keep it curved. I pulled this ratio back to one to one. It's not doing anything. Push it all the way. Now it's totally flat, where each little click is as loud as every other clip. Typically not what we want. So putting it somewhere in this range, smooth out the volume of our sound. That's what a compressor does. Now, I like to work with this compressor in this view because I can see where my volume of the whole track is, set, my threshold, right where I want it. You can see the amount of gain reduction I'm getting and I can boost my output if I need to. In most compressors you have an out the ability to boost the output because a lot of the time when you apply a compressor, you lose a lot of volume. So you have the ability to add volume back in to boost it back up. It's sometimes called makeup gain. So we quiet the whole thing down by compressing it and then we boost the volume to get the level backup. So you see make-up gain, this is effectively the same thing. Oh, actually we have a makeup gain button. Okay. You can adjust the speed at which the compressor kicks in. If you want to kick in really fast, you want this number low. If you want it to kick in really slow, you want this number high and generally leave it around two or three milliseconds. And how fast is it let go, how fast is the volume come back down after it goes under the threshold? Or does the compressor stop pushing the sound down after it comes, the volume comes back down under the threshold. So compressors can be really complicated. But the thing to remember is that just taking the loud stuff, smashing it down to the level of the quiet stuff, depending on how hard you set it. That's what a compressor does. 29. Side-Chaining With the Compressor: And I should point out one other thing about the compressor. We've actually already seen the compressor of when we looked at side chaining and one of the earlier classes. So if we want a side chain something, you hit this little toggle right here. And that gives you your side chain controls also gives you a little EQ control. So if we wanted to side chain, we'd turn this on and we'd say, listen to what other track. And what that does is It's going to control this compressor. But instead of listening to itself to know when to get quieter and louder, it's gonna listen to something else and have something else. Tell it when to get quieter, louder. It's all side chaining is. So in this case, it wouldn't make a whole lot of sense, although just to be dramatic, I could connect it to that vocal track. Let's do it just for fun. So here's the vocal track. Let's make the compression really extreme. So you're going to hear this drum when his vocal tract starts. It's going to push the drums down to be underneath it. The vocal part. And the vocal part is muted right now. So you didn't even hear the vocal part, but you did hear a huge drop in volume when the vocal part came in because we're side chain to it. So silly way to do cij, meaning it's a silly thing to side chain to. But that is how you do side chaining. Compressor controls the side chain. There are ways of side chain to things other than compressors, but that's the most common way we do it. 30. Gate: Okay, next let's look at gait. Gait kind of looks like a compressor, and it acts like a compressor, but it has very different results. So I'm gonna turn off this compressor so we hear the original again. So what a gate does is you set a threshold. So the threshold is at what point does the gate kick on? And then if the sound, the volume of the sound is above that threshold, you hear it unaltered. If it's below that threshold, you don't. And gate is a very brute force effect that basically says are we, is this signal on or off, right? So here's a low threshold, right? So we're going to hear all the sound. Let's move my threshold up to only get those high things. Okay? Now, most of our clicky sounds are too quiet, meet the threshold. So they're just off. Okay, so we effectively just took the high hats out of our drumbeat using this method. That's kinda cool. Other things in, at a gate are the return. Return is this lower line. You can set that to be different than the threshold. So, so you have two lines, that threshold and the return. So the sound goes up above the threshold and we play it. It stays up there. It keeps playing. It drops below the threshold. It can keep playing. But if it drops below the return, it stops, right? So that gives us a little bit of flexibility on the way down. We'd also flip it. Look ahead, makes it work a little bit faster. And then we can adjust the speed that it kicks on. Now you might think that gate is a really good way to do noise reduction. If you have a noisy, some noise in your signal, it's actually not. A lot of people tried to use gate for noise reduction and it's not a very effective use of a gate. Because what that's gonna do is if I'm talking and I've got a bunch of noise underneath me, all it's gonna do is all that noise is going to be there while I'm talking. And then when I'm not talking, there's gonna be no sound. So it doesn't do anything to reduce the noise while I'm talking, right? Because the gate is open and you can hear it because the volume is passed the threshold. So there are some cases where it can be used for noise reduction. You can also side chain to it, which can be actually kind of fun to make rhythmic effects. So it's not really a compressor, but it behaves kind of similarly to a compressor, but does not do any actual compression. 31. Glue Compressor: Okay, Next is Glue Compressor. Let's throw this on our 8-bit. So Glue compressor is a different kind of compressor. It's basically a compressor, so everything is working the same in terms of a compressor that we talked about. The algorithm underneath it is a bit different, so it's a different kind of compressor. And the reason we call it a glue compressor is that this particular one is designed to emulate a compressor that's best known for making multiple sounds, sound good together. So I like to put glue compressors on buses and groups so that it, it kinda helps them blend together really well. How it works under the hood of the bit of a mystery. Because you can see everything is basically the same. We have that soft clip that we talked about earlier on here. And then we have a compressor. So here's our threshold. Let's push our threshold down until we see the compressor work in a little bit. Okay, we can add back in some makeup gain. Okay, and now we have a tack time release time and ratio. So it roughly works. It works exactly the same as the other compressor. It looks a little bit different, but the emulation under the hood of it, what it's actually, how it's actually processing sound, design to blend sounds together really well in a somewhat mysterious way. So that case we talked about earlier where you've got a bunch of drum tracks and you put them all in a group. And then you put this Glue Compressor on, on the group. That can be a good way to compress them all. Or get a compressor on all of them. In this glue compressor, it can be a good way to do that in a way that's going to make them blend together pretty well. 32. Limiter: Okay, Next let's talk about a limiter. A limiter is an effect that's basically, it's kind of like a compressor. But only for the loud stuff and not the quiet stuff. In other words, with a limiter we have a threshold, but instead of threshold, we call it a ceiling. And that term ceiling is a pretty good indication of what it's doing, right? We're not going to make the quiet stuff louder and the loud stuff quieter. We're only going to make the loud stuff quieter with a limiter. So what we're going to say is that sound can play through just fine, but when it hits a certain point, the ceiling, that it gets chopped off, we're starting to hear it, but it's not going to let the sound get any louder than that ceiling. A lot of people put these on their master track. In fact, let's do that. Okay, let's get rid of that. And let's put a limiter down here on our master track. Okay, So now we're just going to say that no matter how hard I crank everything, I'm just not going to let it clip. Okay, So there it is. It's going to my master track. Now coming in and coming out. Okay, let's lower the ceiling. Okay, so now it's really working and it's pushing sound down like crazy because it's saying things are getting above the ceiling. Actually. Nothing's getting above the ceiling, but things are hitting the ceiling. And as much as this is is how much it's going over the ceiling and so it's having to like push it down. Okay, this would be a bad way to do it. But most people will do is set this to maybe negative eight or so. Negative a, negative 10. Give themselves a little room so that nothing hits the top and your mixes fine. This is a bit of a safety net, a way to mix. But it when you're using effect racks and things like that, a lot of the time you'll see a limiter at the end, just to say that no matter what happens here, don't let it get over x volume, right? Don't let it clip or get too loud. So limiters kind of a brute force way to say, don't get too loud. 33. Multiband Dynamics: Okay, Last but not least in this category is multiband dynamics. So this on our drum track, our original drum track, this is a compressor and an EQ combined. So what this is going to let us do is compress different frequencies differently. Okay? So we might have a high-frequency stuff and we want to compress that a lot because it's really loud, for example. And we might have low-frequency stuff. That's just right, so we don't want to compress that. So effectively, here are three frequency bands. We've got low, mids and highs, right? And we can define kinda what lows, mids and highs mean. And some control over what the high and low frequency is, frequencies are, I should say. So then we've got, for each one, we've got a little bit of a volume control so we can boost or cut frequencies coming in here. Got an output that'll let us add a little makeup gain if we need it. And then we've got the threshold and ratio. So the threshold is here. It's a little weirder of an interface, but it works pretty well. So here's our threshold and our ratio. If you click on this and move up or down, you get these line there. And a little bit different action going that way. So the interface on this one's a little harder to use, but it can be a really cool effect to, on something like drums like this, if we want to flatten out the sound, but we want to have a little bit better control over how we're doing it, then multiband dynamics can be really good for that. I've also used it on recordings where I've recorded multiple instruments all at once. So I can't really split out the mikes. So if I record like a choir and we've got just overheads on like a live recording. Then multiband dynamics processing can really help control that sound a little bit better than just slapping an IQ, a compressor on the whole thing. 34. Auto Filter: Okay, EQ and filters. So we're going to go alphabetically here. We probably should start with one of these EQs, but auto filters first, so I'm going to keep auto filter kind of simple. It'll make more sense once we go through the channel EQs. So I've added a couple more things here for us to just play with. I just kind of added these synths. And you'll notice that these are midi tracks. And even though there are midi tracks, I can add audio effects like this audio Auto Filter, but it has to come after the instrument. So for this one, this is an instrument rack, but this is our instrument. So it's got audio coming out of it. Maybe coming in, audio coming out. And once it's converted to audio, we can use any audio effect we want, even if it's a midi track. So here we are with auto filter. So this is a filter, so it's going to cut out sounds. It can also boost sounds, but we try to avoid using filters that way. So the thing to remember, and we'll talk about this more when we get into the other EQs. Is that this line in the middle means unaffected. So it fits right here. It means we're not doing anything to this sound. So right here, we're pulling away sounds. And so these are high frequencies and these are low frequencies. Okay? Whenever you see a filter, a graph that's kind of always what it's doing. So if we take this middle line and we pull it down, that means we're pulling down on high frequencies. In this case, we're cutting out these high frequencies. If I do this, it means these frequencies right? In this little triangle here are being boosted. But these frequencies are being cut out. Okay? So I can adjust the type of filter I have with these buttons here. So I can do this and say, We're just going to let these frequencies through. We're going to cut out low stuff and high stuff. It wasn't called a band-pass filter. But the thing that the auto filter does is it moves around automatically. It's kind of like an LFO. So you've got this track soloed. So here's our filter settings. Resonance boosts it a little bit right at the cutoff frequency. And then we've got our motion amounts and controls here, amount and rate. Okay. So it's not doing anything. Now let's turn this up. Okay. If we turn this up a lot, we're going to hear it moving. It's moving pretty slow because it's set to 0.11 hertz. It's very slow. It's basically just an LFO. Let's switch this to be the little note symbol here, which means now we're looking at division of the beat. So now let's move it by a quarter note. So now our filter is effectively opening and closing at this speed K. We don't see it update here, but that's what it's doing. Or you may go faster or slower. And that's kind of a nine. So let's set it to an eighth note. And that should blend, okay? Okay, It's a little weird things getting a little messy, but you get the point. So an auto filter is a filter, but it's going to, we're going to set it in motion and it's going to move like an LFO. 35. Channel EQ: Okay, let's go to this other midi track I put here. This is a wave table and actually has an LFO going on it. So let's use channel EQ here. So Channel EQ is just kind of a simple EQ, okay? Right here. So what we have here is a three band EQ. So we have low, mids and highs, okay, so we can take our low frequencies and boost them. We can take our low frequencies and cut them. Okay? If we, and again, if we put it right in the middle, right, where it says 0 there, we're doing nothing to the frequencies. These are low frequencies, these are high frequencies. Okay, so if I go to our middle range, I can boost it or I can cut it. Okay, and this is a good time to remind you that. Remember that if you've done something to a knob and you want to just get it back to 0 instead of like tediously trying to find 0 there. Just press delete. That'll take it back. And then go to our high frequencies. We can boost them or cut them. Okay? We can also boost or cut the entire output volume. Okay? So let's hear what this does. And the sound. Let's boost the low end of the sound. Because I can see a lot of energy in it right here. And see if we bring that out. Not too much with this EQ, we need something a little more specific to really get that frequency to come out. We'll see that in our next effect. Let's see if we can take out some of that bussiness. Bussiness is going to be this high stuff. So let's pull that out. Okay. It will bump on them. Okay, so this is going to let you really kinda shape a sound, but not with a ton of detail. If we really want to get in there and carve away certain things, we need something with more points than just low, mid, and high, right? That's gonna get us to our next EQ, EQ Eight. So let's go to that one next. 36. EQ Eight: Okay, So I'm gonna take my channel EQ, I'm gonna get rid of it, press Delete key, goes away. I'm going to throw an EQ on that same track. Okay, so now we have effectively the same thing, but a lot more control. With EQ 8, we have eight points versus the three we had before, right before we had low, mids and highs. Now we have eight and they're not called low mids and eyes because they can be whatever we want them to be. We can move them around. So we have a lot more control here. Okay, So you're seeing four points. So I can say, I want this point to be, I know I want to boost the low end, cut, the low end. Boost this range, cut this range. This range and the highs, I have eight total, the top four are turned off at the moment. Let's turn on all eight. Okay, now all eight are on. Okay, So right now, all we're doing is really cutting the very high end with his eighth one. You'll see that each one of these can be a different type of filter. This one is different than all the rest. This one is called a low-pass filter. That means it's going to let low stuff through it. Things under it are going to go through high things above it are going to get cut off. So this is going to cut off all of the high stuff and it's set to be super high. So we're not really going to hear it doing very much here unless we really pull it down. Okay, so let's do the opposite of that all the way on the other side. So we'll do a high-pass here. So we cut off any low stuff, really low stuff. Okay, Now let's go after this frequency right here. Let's see if we can boost just that frequency. Okay, So what I'm gonna do here is try to find that frequency by really boosting it. I'm not going to leave it this way. And I don't want to just boost this frequency a whole bunch. It's going to be a little, it's poly going to clip if I do that. But I like to just boost things a lot to find them and then I can kind of dial it in what I really wanna do with it. So let's find that. There it is, here that and I get right over that frequency, I get a big bump in volume. I can get an even narrower on it by adjusting the queue. Here. You see how I've got this point where this two is. But then we kind of slope away from it. If you want to tighten up that slope, that's called the queue. Hence this knob down here. Okay? And there it is. The gain is the same thing. We're adjusting by moving it up and down. And the frequency moves it left to right. Okay, so these three knobs change depending on which filter you've selected. I'm on the two now if I go over to one, those are different. If I go over to three, those are different. Now I can adjust three, right, and do something else. Okay, So maybe what I wanna do here, if I really want to boost that frequency, I don't need all of these. Don't even need that one. Let's just hone in right, on that frequency. Right? Let's use a high-pass to cut out under it, a low-pass to cut out everything above it. And a band-pass with that is to boost right on it. And it's not boost too much. Okay, that's cool. But now I've lost all the fuzziness and the character of that sound. I'm going to add a little bit back in. Okay, let's go. Now I have a really warm sound, right? I kinda like that. But you can see because I've boosted so much here, I've added a lot of volume. And I'm right on the edge of clipping here. So I'm going to pull that back, pull that back, and then boost my gain a little bit. Okay, Now I have basically the same thing. One cool thing about EQ Eight is that it uses this kind of magical extra space that we saw in some effects earlier. If we click here, we can get a much bigger EQ, same thing, but just gives us more control. So we can tighten that up if we wanted to open this up a little bit more. Go. So EQ Eight gives you a lot of control. It's more of a razor blade. Then the channel EQ, which is more of like a hammer. So if you want to do any real EQ and really kind of pulling out frequencies. Each weight is the best tool we have built into live for that. Now, IQ3 is a lot like the Channel EQ. It's a much more simple version of EQ Eight. So let's go and look at that one now. 37. EQ Three: Okay, EQ three. Let's throw that on our drums actually. Okay, let's hear just what our drums are doing right now. Okay, Here's EQ three, right? Looks a bit different. So what we have here is we've got the low frequencies. We can cut them or we can boost them a little bit. We can't boost them a ton. Because you'll notice how high 0 is on this dial, the way they have it set up. We can also kind of set what the low and the high is by adjusting these frequencies. By default, the center of the low frequency is 250 hertz. The center of the high frequency is 2.5 kilohertz. If you want to adjust that you can. What this is kind of good for is just brute force. Cut the lows, cut the highs, admin. It's good for like remixing and even performance. Actually this is kinda good at because watch this. I can say like okay till below it, kill that kick. Then when we get to a good point in tune and we say drop the kick. And again, this is not a great example for that. We can say, give me nothing but kick. Right now, add in the highs and everything. Right? So this is just kind of separating them out on a single track. A lot of the time you'll find that if you throw this on a drum loop, this loan is going to affect almost entirely your KYC is high, is going to affect almost entirely your hi-hats. And it's mid is going to affect almost entirely your snare. Although there's going to be a lot of snare and the highest also. So you can put those, you can map these two a little midi controller or to your keyboard and do some really fun stuff with it. Let me give you a better example of that. Okay, Here's another unrelated drum loop just to kind of show what's going on here. Okay, that came in strange. So let's cut that in half. Okay, So now I've got that on there and an EQ three. So let's do a quick little key mapping. So for key mapping, I can press Command K or I can just hit this key button up here. Now anything orange, I can map to my keypad. Okay, so I'm going to click this, turning on all my lows, and let's put that on the a key. Okay, I'm going to click on my mids. I'm going to put that on my S, so I'm just going to press S. And now it's there. And highs, I'm going to put on my D key. Okay, now I get out of key mapping mode by either clicking K or key or pressing Command K. Okay, now, if I press all three of those keys, it turns off all my lows, my mids and highs, which means we are going to hear nothing. Okay, now let's say pop in the highs just for fun and that's gonna be my D key School. Second, my mids, take out my highs. You can put this on a now, but it kinda do some fun stuff here. Becomes the big moment. All right. Let's find that stick out are kick back in, out in nothing but highs. Right? So just by doing that little key mapping, we can actually make this little loop a little bit performative just through this little EQ three. That's the most useful thing I found with the EQ three. It's actually really kinda fun to do that. So have fun with it. 38. Envelope Follower: Okay, Up next we have the category of modulators. Now these aren't going to let us take a parameter and essentially modulate something else with it. Envelope follower is really cool. This is a Max for Live device. It's not new to live 11, but it is new to be included in the effects. What it's gonna do basically is look at a parameter and capture that, the value of that parameter, and then let us put it to something else. So it's a lot like side chaining actually, where inside chaining, we take the volume of one signal and apply it to something, the volume of another signal. Except now we have more control over it. So I'm going to put it on our new kind of dubstep drum loop. Let's skew that. Okay, so we can see what it's doing here. Okay, So what if I wanted to use this to control something on this synth, me that filter. Let me just the volume of it. Let's do just the volume of it so we have something good and obvious. Okay, so I'm gonna go back over to my envelope follower and unclick map. Okay, now I'm gonna go back to that synth while that's blinking. And click on volume cat. Now you see it went to negative infinity because there's no sound playing. Okay, so now it says volume, it's matched to that. And we can click here to map it to multiple things. And we can adjust the intensity of the mapping if we want. But let's leave it full blast. Okay, now I press Play. I have this beat muted and I can leave it muted. So maybe I don't even want to use this. B is a too many beats going on in this, in this goofy that all track that we've been working on. So instead I'm just gonna use it as kind of an impulse. So it's you that in context of our whole track by milliliters for needed. Okay, Let's go these drums or stability. So envelope follower grabs the envelope of some parameter and that's you apply it to multiple other places. 39. LFO: Okay, Next we have another Max for Live devices, the LFO. This works essentially the same. And it looks essentially the same, except it's not taking the envelope from somewhere else. It's generating its own. It is essentially just a freestanding LFO that we can apply to anything. Okay, so we know what LFOs are already from the last class. So all we have to do here is say, what do you want us to control? We can go to any track, any device, so it doesn't matter where you put it in some sense. But in order to keep your sanity, I recommend putting it on the track that you're going to use it on. So let's put it, let's how about our highs here? Okay, as soon as I click it, picks it right up, right? So now we can shape our LFO little bit. We can say, make it a division of the beads. Maybe make it faster. Quarter note. Let's leave it on quarter notes. Depth. We could pull it back to be a little less intense. You put an offset on it if we wanted it to. Kind of focus on the highs or lows aren't too. We can adjust the phase if we need to do that. And we can trigger a hold which is kinda fun. Hold would just be like basically stop the LFO and hold onto its current position. So let's hear this. So now we've got this drum loop going. Take it back up. So freestanding LFO, apply it to anything. 40. Shaper: Okay, next up in the modulators, last up in the modulators is the shaper says it's a lot like the LFO. Let's put it on this synth that definitely needs some work. Right? So what we're gonna do here is we have an LFO, but we have a lot more control over the shape of the LFO, right? So this kind of shows you what the output is going to be doing. Right? We've got some shapes here that we can play with. But we can adjust all of them as we want. So I want something that kinda calms this thing down a little bit. So shapers kinda the wrong way to do this, but let's do it anyway. Let's try this. Now, one interesting thing to note is that these are not exactly audio effects and not exactly midi effects, right? Because I have the shape are on here. And if I hit play, it's really just going to pass right through it. On, turn it off, turn it on and what? It's not doing anything. Because this needs to be mapped to something. Audio is going to pass right through it. This is a parameter controlled thing. So let's turn that back on. This back on, and let's map it to something. So let's try mapping it to our Auto Filter rate. This is gonna get kinda weird. That's kind of neat. Actually. Slow it down a little bit. Kinda like it. Let's see, I've got X k. So what we did here is we just kinda drew the shape that we wanted. We adjusted the rate. We didn't adjust the depth although we could, but I wanted it to be pretty intense. And then we mapped it to rate. We could map to something else as well. In all of these modulators have this little button here that'll let us map it to several things. So let's map the same parameter to the filter cutoff. All right, so now you can see those are working kind of in unison. And let's map it to this reverb, but let's do it opposite. So we're gonna go 1000 here. So I'm going to invert the values so that reverb goes up. And just to make sure we get that really craziness thing, and then make sure the filter cutoff doesn't actually get to 0. So now I've made like kind of an interesting effect with the shaper. Really fun things you can do with any and all of these modulators. 41. Beat Repeat: Okay, up next, let's go to these two performance category. Things. First is beat repeat. So let's put this on our kinda bit crushed percussion thing. So here's what it sounds like without the repeat. Okay, So what beat repeat is gonna do is it's going to grab little pockets and do glitchy things with it. Okay, it's, I find beat repeat actually to be like a really confusing affect the way it's laid out. I'm not sure why it's actually not that confusing. It's just the way my brain handles it is just like tricky. So let me show you how I use the repeat. Okay, So I'm going to turn it on. And what it's gonna do right out of the box is it's going to randomly grab something and then repeat it to make these little glitch effects. See when this little variation light turns on. All right, It's making, it's making a little repeat. So how I like it is I'm gonna put it in gate mode. Gate mode is that means that it's not going to play any sound except for it's repeated stuff. Kids was not going to let anything through unless it's doing something. Okay. That's gonna make it mostly silent. Go. Okay, so I can change the speed that it turns on and what it does through interval variation. This is going to be a variation in the grid. Right now it's on 16th note, I want to leave that variation at 0 so that it's always doing a 16th note when it does kick on. I'm also going to add a little decay so that those kind of scale back, right? Almost sounds like a delay gap. That's pretty cool. Now if I take this and I blended into my other beat, it's actually going to sound pretty good. I could do an offset if I wanted. Change the interval. And I kinda liked how we had it before. That's kinda cool. And it's got a built-in filter also. Now you can, you don't have to use it this way in gate mode. That's just what I find to be most interesting for me. So I usually duplicate the track or make a rack with this in it so that I can still hear the original and deal with the gated one. And you might think, Why would you not just leave it in mixed-mode? I like to have a little more control over what it's doing. That's why I like to leave it in gate mode like this. But I think I'm weird in that way. But the thing to remember about with beat repeat is that you can turn it on and it's going to add these glitchy things to your track. You've got a lot of control over when they turn on, when they turn off, the shape of them. And how you mix them in to your track. 42. Looper: Okay, So up next we'll do looper. Looper is really designed for performance and it's actually kinda hard to demonstrate without setting everything up to be a performance, but I can't do it. Looper does a lot of things and you could actually do a whole class just on techniques for using looper. But let's throw it on this vocal track. Now that it really matters because I'm just going to plug it into my mic. But so what we have here is one big button, okay, and some controls for that button. So the main thing to focus in on is this button and then these two things. So when I click this button, it's going to record into the looper. Now this is emulating a looper pedal. If you've ever used any kind of looper pedal, this is what it is. So when I hit this, it's going to record. And we're going to say record one bar. So all my groups are going to be one bar. That's just how I'm going to set this up. You can set it however you want. Then I'm going to say at the end of that one bar, I can either say the plus symbol, which means add another layer, like keep recording. Or I can say, click that and say play. So I could say, at the end of my one-bar, start playing back my one-bar. I'm going to leave it in that mode now just to demonstrate k. When I do that, when I get to the end of that bar and it starts playing back my loop, this big button is going to turn into a plus sign. That means if I hit it again, I'm going to add another layer and I can just keep doing that over and over. Okay, So let's try it. So now in order to do this, I run the very big risk of feeding back, but I'm going to risk it. Okay, So here we go. But Kcat. So I got that. Now one cool thing I can do with this is if what I made was cool and I want to keep it, can actually go to this little Drag Me button and grab the clip that was made from it. Right? Now I can just use it outside of the loop or as anything. I can clear the leap looper. I can do what I want. I can also reverse it. If I want, change the speed. Let's actually do that. Well, that, that's pure evil. Okay, let's do that and then drag it out here. Get rid of that, that there. And let's clear the looper. So we're only hearing this clip. So the speed adjustment didn't come with it when I drag the loop in. I thought it worked, but I can easily do that here if I want. So let's actually do it and get it repaired and crank it up. And then we'll set it to loop this much. Change our loop brace to be back here. All right, let's see if I can find the same pitches are a piano note on this is just gonna be a little tricky. There's enough. Let's do that. Let's put a little fade on the end of it. Okay. I don't think I'm ever going to find the right pitch for that, but that's okay. So that's how the loop works. 43. Auto Pan: All right, Up next, the pitch and modulation category. Now these are obviously all frequency based effects. So let's start with auto pan. Let's throw this on our guitar sound. Okay, This one, Not very much unlike the auto filter that we had, but we're going to do it with panning. So we're going to move our panning automatically. So it's basically like an LFO on the panning pot. In fact, you could achieve almost the same thing with that. So we've got the amount and you can see the left and right patterns, what they're doing, the rate, which is the speed, the phase. So we can put them in phase or out of phase. And the shape make it a little more square wave, make it little more sinewave. Pretty simple, right? So let's make it nice and smooth. I never want to go too fast with this because it can make you kinda nauseous. So let's solo this. Okay, it's kinda hard to feel that it's going out all the way. To speed it up a little bit. There we go. Okay. So you can feel it moving back and forth. Now panning is one of those weird things that you may or may not feel depending on how this video is rendered on whatever platform you're watching it on. So sometimes these videos come through as mono, which drives me nuts. But you can see it working here on our two signals. Can see alternating back and forth. So I could speed it up if I wanted and make us kinda nauseous. So now they're going like this, that or the two signals are going back and forth. I could put them in phase so that you hear all the sound going like going back and forth. Right? It sounds more like a Leslie, Leslie speaker if you've ever seen one of those. But this is a good way just to kinda get some good width on your sound. Okay, Now, the only thing I'm going to change here is the rate. I'm going to change it to division of the beat. So it down to an eighth note, right? That should help it blend in the material better. Yeah, we've created something just absolutely horrible. So auto pan. 44. Chorus-Ensemble: Okay, next let's look at the chorus ensemble effect. So I'm gonna use this on the same track and turn off auto pan for just a second so we can hear this a little bit better. So you might be familiar with a chorus effect. It has a effective kind of fattening up the sound by, by duplicating the signal and then sometimes pulling it out of tune just a little bit or something to distinguish it from the original. So here we have classic chorus, which does effectively that. We have ensemble, which is gonna make it 10 even bigger. And then we have vibrato, which is just going to be solo, but give it a little bit of motion. Ok, so classic, Here's what it sounds like without a cane here is with it. Right? It's kind of classic chorus sound. Ensembles going to make it a little bit bigger yet. Which doesn't really hit us with this. That's boosted. Here we go. Feel a lot of like detuning kinda motion in there. And vibrato is just going to be solo, but add some little wavering to the tuning. Or a lot. Let's turn that. Okay, So they're vibrato, want to go a little bit more subtle, but with classic and ensemble. Sounds really nice on guitar stuff sounds pretty nice on vocals sometimes as well, and some other things. So essentially a classical chorus effect. 45. Corpus: Okay, Up next is corpus. Corpus is a little trickier. Let's throw it on here. So I'm going to throw it on this track. Let me just mute it for a second and remind you what's on this triangle. That's this one. Okay? So what corpus is, is it's a physical modular, it's not unlike something like collision that we saw with synthesisers where we were physical, physically modeling a synthesizer based on real-world parameters of it. But with this, we're modeling a real-world resonator. Essentially. It's like if you've ever gone up to a piano, like a grand piano, and held down the sustain pedal and then screened into it. And then you hear the resignation of the strings, sympathetic resignation. It's kinda like that. So we can basically run our sound through a different resonator. And that's going to affect the frequency, the frequencies that we get out of it quite a bit. So I have here a beam, right? I can adjust them, the material and the decay and the size of it, just like we saw with collision, can change this to a string. Like that. I like the upper overtones were getting k. And the rest of this part here is really to shaping that resonator. We can add an LFO, we can add a filter. And we can add this parameter called bleed, which is going to mix in some of the unprocessed signal back to it. It's kind of like a dry wet amount. But I think the analogy here is if you are making this resonator, you'd have some of the initial attack kind of pass around the resonator and get into the microphone. It's kinda what this is emulating. So kind of interesting. You can get a lot of really interesting sounds out of it. 46. Frequency Shifter: Okay, Next is frequency shifter. This is kind of what it sounds like. It will let us do some. It will let us shift our frequency, but it also let us do a little bit more. So what we can do here is we can transpose something by just shifting it up or down. We can also ring modulate. So ring modulation is a more complicated process. But basically what it does is if we have a signal here, if we're just in the shift mode, we can shift the pitch up or down, right? But if we're in ring modulation mode, we're going to shift them both up and down. And then, and combine them together, which will create some odd harmonics in most cases. So let's do a very dangerous thing and just put this on my little vocal thing here. Okay, So we can shift it up and down. That's actually shifted way up here. But let me demonstrate ring modulation to right. So this generates some stranger sounds. Okay? And then we've got LFO and a sample and hold. If we want to get a little weirder with it. I'm going to turn that off because we don't really need it right now. I don't think that'll drive to it if we want built in. So I'm gonna go back to shift and just put it way up here. I'm hoping I can find effect sometime soon, probably in this time and space category to do something rhythmic with this, but we'll see what happens. So frequency shifter. 47. Phaser-Flanger: Okay, Up next is phaser flanger. Now in Live 10, we had a phaser and the flanger, two separate effects. Now they're combined into one. So I'm going to put it on this track. So we see phaser flanger and we also have a doubler here too. So a phasor is your standard phasor. We're going to be adding multiple versions of the signal back in and kind of using notch filters on them to pull out different parts and offset the phase of them. It makes that kind of base or sound if you don't know what that sounds like, it's like this. You can see those those notch filters just kinda move it around to make that phase sound. Right? We can switch it to flanger, where we only have two copies of the sound, but they're offset by time just a little bit. Right? So we get that kind of phased sound, flanged sound. And then we've got a dabbler, which is just gonna kinda make it sound like it's doubled. And pull that back a little bit. Okay, Now that dabbler might go well on my original vocal sample here. Oops. But we put a whole bunch of effects, hot it, so we've basically destroyed it. So let's not do that, but let's go back to where we were. Okay, I rather like that phaser sound because we have those upper harmonics. It sounds really kinda cool. So I'm going to leave that there. 48. Resonators: Okay, next let's go to the resonator. And you'll notice that this is called resonators because there are five resonators here. There's a root pitch and then 1, 2, 3, 4, 5 partials of that root. So what we do here is we set, yeah, so we set our base frequency here, and then we have upper partials of them. These upper ones we can turn on and off here if we don't want all five. And with this first one we can set the mode. Mode can either be a, which is a typical sounding resonator, which I'll show you what that isn't a second, or B, which is a different mode, a resonator that don't super understand well, but it works really well on lower stuff. So let's hear what this resonator does. Okay, so I need to set a partial here. That's pretty cool. Let's bring those out here. All the pretty interesting. I'm going to take a look at some of the preset resonators because they have some cool presets in here that I like. Especially the Prague one. Listen to this. Go with that one. You know, you get a lot of feeling of reverb from all of those resonators going. So play around with some of these presets. They, they can really give us sound a more metallic feel a lot of the time, almost like a bell sometimes. So try it on percussive things that's so much drums. But single hit percussive things are things that you want to have a more metallic sound to do them. 49. Spectral Resonator: Okay, Up next we have spectral resonator. I think this is our first spectral effect, although we're going to have another one does after this as well. So spectral effects basically means that we have access to the pitch content of the sound coming into it. In most defects, we're running, we run the signal through the effect and then out, right? Which means we have access to the time and the volume because it's easy for any effect of figure out what the volume is and play with that. And what the time is, things like delay and stuff like that. It's really hard for a computer to, on the fly, analyze the pitch content, and then play around with it, right? That's a fairly new thing. So that's called spectral when it actually does that analyzing of the frequency content in real time while the sounds going through it. So when you see a spectral thing, you know that basically you're no longer seeing like in this one. Look at the little black box here. So the waveform, see this isn't an EQ where we're seeing frequency is at the bottom and amplitude at the top. That's what we're used to seeing. But what we're seeing here is frequency is going this way and time going this way. So now we're seeing the frequency content on the vertical axis. I mean, that's its spectral effect. And it also means we can play around with their frequency content quite a bit. So with a spectral resonator, we have something that sounds pretty similar to our previous resonator. You'll see that ones here, but I turned it off. So now we're just done this. But what I find to be most interesting about spectral resonator is adjusting our frequency and perhaps even automating our frequency because you get some really wild effects with this lesson. It sounds like a really weird guitar that you've tuned the string down to be just dangling. We've got some other settings here that we can play around with. Granular is gonna kinda make this kind of nineties granulation sound. I always associated with the nineties. But I just really like riding this frequency. I'm playing around with this one. Otherwise, it's a resonator. So it works is similar to what we just saw. But because it's spectral, we have frequency and then harmonics above it. Another thing that's really fun with spectral resonator as bump up this unison a little bit. And you get a really fatter sound, essentially a chorus kind of a sound built in. So this effect, like all spectral effects, has a lot of possibilities to use correctly and incorrectly to make really cool sounds. Spectral effects are much more complicated, but have much more potential to do really wild things. 50. Spectral Time: Okay, now let's go to spectral time. This is one of the biggest and wildest new effects in live 11. I'm gonna throw it on his beat here. Okay, So what we have here is really kind of two big effects. The freeze function and the delay function of both of these are functioning as a spectral effect, right? So that means we have access to do new things that we didn't before when we weren't in a spectral effect, right? Spectral means we have access to the frequency content. So let's focus on this freeze section first. This does kinda what it sounds like. It gives us, let's turn the delay off and it gives us a little button we can hit to freeze, right? And that's just going to basically stop the sound right where in its tracks. Let's turn it all the way wet so that we just really here, what we're doing here, right, we're just kinda stopping the sound is holding onto it, freezing it, if you will. We can also just kinda set that up to happen on its own. If we go into re-trigger mode and onsets, It's going to decide when to re-trigger based on the sensitivity. And that makes them interesting, goofy stuff, but more interesting is selecting sink here. This is basically going to let us put it on a timer, sort of an, a timer can be milliseconds like it is, or divisions of the beat. So let's put it on 16th note. Okay, now I have a very different sounding be right? Now. It's really choppy like this. You can smooth that out with this crossfade, where it'll crossfade between the chops, right? Or you can get a little more control over that crossfade by doing a fade in and fade out amount, right? Cool trick. If you set these both really low, you're gonna get a new kind of wildly ticky sound, which I kinda dig. If you set these really high, you've just created your new ambient masterpiece. Right? Kinda wild. And we keep he's kinda low because I like that ticky sound. All right, let's look at the delay section. So the delay section, the top part here is your typical delay, right? Turn off freezes for a minute. It's a delay, it's crazy. So mode, time or notes, but say 16th note. Let's do that. We can add a little pitch shift to it. That's cool too. Now this is only going to pitch shift the delay, not there's actual signal. So if we add a little feedback to it, you'll hear that going up. Now that's all cool and all but, and we've gotta dry wet here. That's just the dry wet for the delay, different than the dry wet for the whole effect. Here. We also have these which are new parameters to a delay. So the tilt, as like you imagine, if every hit is like this, the tilt is going to shift it. But that's basically going to do is give us more higher frequencies, right? And if we go negative, it's going to do the opposite. Right? So let's turn this all the way wet. The hips. The spray function is like if you imagine each hit, it was like this, tilt, switched it to go and whoop or whoo. Can't really do that. Spray is going to make it go. It's just going to widen out each and each other till off. Okay, and then mask is just kinda, kinda blend those together. Okay, cool. So let's go to an freezer back on. And let's turn it on when are super ambient style mode. So you can see how powerful this is. We just turned to this kinda dubstep be into this crazy ambient thing. So I'm going to do for our little tracks, I'm going go back to get this into kind of ticky mode. I will turn on a delay, but I'm going to turn that off and give me just a little bit here. Pitch shift on the top. Really subtle. And we've got a Weidner so we can kinda widen it in the mix a little bit here. I think that'll blend in well with the other B we've got going here. Cool. Now one thing I'll also point out that you may have noticed that still have this envelope follower on here. And my envelope is totally destroyed by what I just did here. But note that the envelope followers before the spectral time. So that means we haven't messed up our settings for our envelope follower. It's still grabbing the envelope as it is here. Not as it is here. If we added another envelope follower here, we'd have some maybe doing some weird stuff, but this one is still intact. So a good example of the ordering of effects, really mattering. 51. Vocoder: Okay, last in this section is good old-fashioned vocoder. So this hasn't changed in any significant way from live tend to live 11. But what we can do with a vocoders, we've got a signal coming in and we can modulate it with another signal. We can also modulate it with a midi signal. We can modulate with just noise or we can just kinda draw in how we want it to be effective. So I've thrown this on our goofy vocal thing. Okay, Let me turn this off. Cash, so that's what it's doing now. So let's run this on a modulating it with noise. Okay, now terribly interesting. Let's modulate it with another track. So I'm gonna go external audio from, and let's take that spectral time, a fact that we just did. So that's on track eight. Okay, so that's our quickie little spectral times thing. Open this up and are bad. At least that gives me a little bit of rhythm to this. But just remember that we have the ability to modulate attract with another track. Typically we think of doing this by singing into it and playing a keyboard where the keyboard chords are modulating our voice so that we get that traditional vocoder sound. But it can really be used to take any sound and modulated by another sound. 52. Delay: Okay, Up next is delay. So when do our time and space categories. So now we're dealing with time obviously. So we're going to have a lot of things like delays and different kinds of delays. Reverb is also going to be in here. Reverb is essentially a really, really short delay. So let's throw a delay on something. How about, how about this? We've got this doing some weird stuff now. So let's take a look at it. Okay? So here's our delay. So nothing too insane here, right? Like we have left channel and right channel. Now the way delays work in live is you basically have this, most delays have this kind of grid and what we're looking at here. So the number of 16th notes usually, so 1 16th note is going to be tiny delay to 16th notes. Or an eighth note. Three 16th notes is gonna get you a little off sync. Four 16th notes is going to be one beat. So that's a one beat delay. 5 16th notes against gonna give you off sync. Six is going to be six 16th notes. And then 8 16th notes can be two beats. 16 16th notes going to be four beats. So just remember that odd numbers here are going to be less metric and create a little bit more chaos. Not a lot, but a little bit. Then even numbers. Okay? And we can have this little link here, this little chain link, which means that the left and right are going to be delayed by the same amount. We can turn that off and say we're going to delete or delay left side three 16th notes, right side 5 16th notes, something like that. Or we can turn this off and just set a number of milliseconds, which will create even more kind of less be centered stuff. So let's not make this too wild. Let's go to beats and let's keep it linked. So 816 votes, two beats. Feedback, kind of how many times it's going to circle back around. And then we can run it through a bandpass filter as well. So the so we can say we want the delayed stuff to be focused on the High-end, low-end or specific frequencies in between. With this, Let's really kinda hone in on this higher harmonic stuff that we're getting here. I'm going to go all the way wet so I can hear it. That's pretty subtle in there. So let's look at these modes. So we call this the delay transition mode. So this is what happens when you change the amount of delay while the delay is going, right? So re pitch means it's going to basically try to catch up and do something. And that's going to make it sound like your pitch jumps a little bit. Fade is gonna kinda cross-fade from the old delay amount to the new amount. And jump is just going to smash it right to the jump amount. This is only really going to be useful if you're changing the delay amount. While our wild things are processing, which you can do because you can automate the amount of the delay if you want. So keep that in mind. Ping pong delay is going to give you a bit of panning. It's going to bounce back and forth between the two channels. And then our dry wet amount. Now, speaking of the dry wet amount, it's important to remember the idea of putting delays on buses. This is typically how we like to deal with delay because it gives you a much more crisp sound. So let's actually do it. I have a whole bunch of buses set up here, but I'm going to delete them just so that we can go back to scratch. I don't think I can delete all of them again. Okay. So now I've gotten rid of all my buses. Now, the reason we do this is because often when we put a delay on something, it can, we get the delayed sound, but we also kind of muddy up the original sound. So if you don't wanna do that at a return track. Okay, and let's call this command R. And we'll rename this delay. You'll know these. Notice the a stays there. Okay, Now I'm gonna go to my track. I'm going to take this delay and I'm just gonna throw it on that return. So now it's no longer on here. Okay? So now my delay is down here. So I go here and I'm going to send this signal to that delay, which is going to be this knob right here. Missing it a bunch. I take that delay and set it all the way wet. Now, this volume is essentially my-delay amount, okay, because the volume of the track that has nothing but delay on it. So I have this soloed. So here's my delay, right? I can turn it down. It keeps my original nice and crisp. It also makes it so that if I wanted to lay anything else, like let's say I want this little ticky thing to go. The digital age also, I don't need to redo the delay. I can just send it to the same one. Let's not do that. Let's actually send this a little bit of kind of a cool sound. So always think about putting your delays and really kinda most time-based affects on a bus. You don't always have to, but it's a really good way to keep your mics sounding really clean. 53. Echo: Okay, Next we have echo. So echo is another type of delay. It's a little bit more robust and it has the ability to make some interesting effects. So let's put echo on another bus. So I'm gonna go down here and I'm going to Control click and say Insert return track. There's my new one. Command R. Let's call it echo. Okay, squished down our delay. Okay. Now you'll notice when I did that, I got a second send on each of my tracks, right? So that sin is going to send to the echo. But let's put echo on that track. Okay, so this part is fairly similar to what we just saw, right? We have our left and our right amount. They can be linked or unlinked. And this is our delay amount, right? Quarter note, eighth note, what have you. We can turn Sync off and just get milliseconds we want. And when it's on, we have this additional kind of ability to modify the amount here. So right now we're on eighth note, dotted. Okay, so a dotted eighth note basically means three 16th notes. So here's the way to remember that. When we looked at delay, I said odd numbers on that. A little grid are going to make kind of more out-of-sync kind of things happening. Since we can't do that here, we just have 16th notes, eighth notes, quarter notes, half notes, et cetera. That dotted parameter is going to make more out of sync things. Okay, So if you don't want things out of sync, if you want them more tight it tight. Change that to just notes. Same thing here. Triplets are going to make things really out of sync. And I don't know it's o 16th mode is just going to put you straight up on the 16th notes, just like what we had with a delay. So I'm going to switch to this denotes and say the eighth note. So the smaller this is the more to the left it is the faster the delay. So 64th note delay is going to be really, really fast. And then to the right is going to be a lot. So there's going to be whole bar. Okay, Let's go eighth-note. Okay, and then we've got an offset just a little bit that we can add to it if we want. Let's leave that alone. Then we've got input signal coming in and feedback. How many times it's going to go through the delay. Now, let's look at this thing here that we call the echo tunnel. So what we see here is the outside most ring is our first delay. And then we get more and more returns of the delay going into the center of the circle. The white dots represent an eighth note going in k. So you can see, because we're doing an eighth note delay, our delays are right on the white dots. If I did something different like a dotted eighth note. Now you can see we've fallen off the white dots. So the white dots are just a reference to tell you where the eighth note is. Sorry, now we're right on the white dots. If I increase our feedback, we get more and more and more. Going into the center of the circle, right? If I pull it back, we get less and less repeats of it. Okay? All the way down to just two. In fact, I think the outermost circle is supposed to be our original. And then this is our first repeat. That'll make sense with this feedback. We just get one and then we get more as we go up. This is just a cool visualization of it. Okay, then we can add some reverb on top of it if we want. Increase the stereo width of it and our dry wet amount. So dry wet, if we're using a bus, we want that set all the way wet. Okay? We also have here modulation parameters so that we can modulate the rate or the phase of our delay. And a couple other weird things here, gate ducking, noise, wobble and read pitch. I'm going to turn on wobble. This is going to add some modulation to the delay time in kind of a unsteady way. Okay, so let's go back over to our echo tunnel and throw this on something. Let's try this little quickie thing. Okay, so I'm going to throw a bunch of it to our echo. Okay, So here's what's coming out of the echo. That's pretty weird, right? So I think it's totally underwater. I like it. So leave it. But I'm going to pull it back just a little bit. Go up. Okay, let's move on to filter delay. 54. Filter Delay: Okay, so for filter delay, let's add another return track just for fun. Let's call it filter delay. And a filter delay is kind of exactly what it sounds like. It is two things, filter and delay. So what we have here is our signal coming in. We have a three band EQ. So we can set this one to Lowe's. Let's set this one to mids, and let's set this one to highs. And then let's say our high stuff. Let's do a delay of three 16th notes. Now, remember that's going to make it a little jittery. Low feedback on a pan, this center. Now this is designed to be left, left and right and right initially, but you don't have to use it that way. So let's actually pan this. Let's actually use that left, right, and center. And so I'm not going to use this as low, mids and highs. I'm actually going to use it as highs and slightly different highs. I'll put this one on five. Okay, and then this one, I'm going to turn off. Okay. So in my case, I'm only going to use the top and bottom. I could use the top and middle, doesn't really matter. And I'm going to take in my left. So I'm going to use, we're going to filter just the high frequencies and delay those by three 16th notes. Pretty low feedback. I'm going to pan it left. I'm gonna go all the way whet. Now this is a weird way to do this, but what I want is this is not a dry wet amount, this is just a dry them out. So I want no dry. Now this one has a slightly different filter. It's a little bit lower, and I'm going to delay that by 5 16th notes. Also pretty low on the feedback pen and all the way right? Volume all the way up and no wet. Okay, now what I'm gonna do is I added this little drum loop to this because we've got this kind of cool clicky thing and I thought it'd be fun just to add this. So let's turn this on now. So this isn't going to that delay yet, but here's what I've added. Just to give us a little bit of a pulse to this. Let's add a little bit of that to this filter delay. So here we go. It's going to push that pretty high. And then I'm probably gonna pull this down. But let's hear that as adding. Because I've used odd numbers for those 16th notes. That's creating that weird kinda syncopated thing, that bad, bad, bad, bad thing. Syncopated. Cool. Now we, this might be a good example to show you what happens if we put this delay directly on the drums. So I'm going to do it. I'm going to take this delay and put it exactly like right on this track. Okay? Now let's listen to this track and you'll see that the delay actually skin to take away from the crispness of the drums just a little bit. Well, I need to put some of the dry back in. See, it's the original snare, the not delayed snare. There's less crisp. So let's put this back down there. Right now we haven't this crack on it. So doing it this way just helps keep the signal a bit cleaner with these types of effects. Cool. So I'm pretty happy with that. Let's move on and go to Grain delay. 55. Grain Delay: Okay, grain delays a little gnarly are typically when we talk about grain, we're talking about spectral effect and we're like we're chopping up the sound into tiny little grains, so to speak. And that lets us play with them as a spectral effect. So I'm going to get weird with this one and I'm going to throw it directly on something. Let's take it right on here. No, I take that back. Let's put it right on our button, this. Okay? So what we have here is kind of an x-y coordinate that we can play with. So on the vertical axis, we want to say, what is that going to do? Right now it's set to frequency, but it also could be our dry wet mix, our feedback, random pitch, pitch, frequency, or spray. Okay. On our horizontal axis, we have the same options, I believe, except for dry wet mix. So we can set any of these parameters here if we want, or we can put them into this kind of XY grid thing, which we can automate, which is fun. So we can automate where this is going on the x-y grid. So here's what these things do. We've seen spray before, right? That's kind of going to since this is a delay, instead of delaying by a certain amount, it's gonna kinda plop it down in a kind of a range. Frequency is going to do, I believe frequency does does frequency adjustments to our delayed amount while pitch does full on transposition of the signal. So pitch is going to be a much more dramatic. Random pitches going to move our pitch around in a random way. Feedback is going to be our feedback amount and dry wet is our dry wet ago. So right now we're set to all the way wet. So let's pull all the way wet back. Feedback. It's just give it a little bit. Random pitch measure. Let's make pitching a little bit random. This pitch. Let's go back to the default frequency and spray. So let's turn spray onto our x-y grid. And down here let's do delay time. Okay, so now if I go up here, we have a lot of spray and a lot of delay time. I go down here, I have none of each. Let's go right around here. All right. So this is getting kinda weirder and weirder. This weird kind of under watery effect. So grain delay, you have a lot of control over making a delay that has a lot of frequency elements involved in it. So transposition, frequency adjustments to the signal or the delayed amount, things like that. 56. Hybrid Reverb: Okay, So on the hybrid reverb. So we've got a lot of things we can do with the hybrid reverb. I'm going to throw it right on this track. I just added this track. Let me show you what I just added. This is just a vocal. Okay, so here's what we can do with the hybrid reverb. We have two different kinds of reverb built into the hybrid reverb. We have algorithmic reverb and a convolution reverb k. So if we go right here, we're going to select what kind of reverb we're going to do. We have cereal. So they're basically both running. We have parallel so that they go from one into the other. And then we have just algorithmic and just convolution. Okay, so let's talk about algorithmic first. Algorithmic is a bit of your standard reverb. This is going to get us a nice warm reverb sound. Let's do know we can adjust decay size, damping, shape, delay amount, got pre-delay over here, feedback amount down here. We have this bass mono mode that we can turn on, which is going to take all of our base frequencies and make them motto, can be nice in a river and our dry wet amount. Hey, we can also select the specific algorithm that we're using here in algorithmic mode. So I've got a few different options. Kinda like weird overtones and this one has shimmer. I'm going to turn down a little bit but GAAP. So now let's go to convolution. If you haven't used convolution reverb here. The way I think about convolution in general is kindness sort of like taking elements of one audio file and using and applying them to another audio file. It's kind of like multiplying two audio files together. It's not exactly that, but it's kind of what it's like. So with the convolution reverb, what we do is we have an actual audio file that we call an impulse response, and that is the reverb. And so we're going to apply that reverb to our signal. Okay, That's what convolution is. So What this wave form that we're looking at here is k. So when we've selected convolution reverb, we get access to this little thing here. Now this double drop-down gives us a bunch of different impulse responses, right? So these are categories. So we can say real places. And we have concert hall, I guess that's my only option here. Chamber and large rooms have several. Concert bar. Let's your local chamber. Made for drums, would be called a play around with later plates. Textures. So some of these textures get kind of weird harmonic chains. And user, you can kinda make your own if you want, which can be fun for making some really cool experimental things. So let's go to Chamber and large room. And then let's set this up to go and series. So we're actually going to hear both of them called a size down a little bit. And we can blend the two so we can hear more of one or the other. So you can do a lot of really dramatic stuff with this. I'm going to pull my dry wet down to quite a bit. We also have an EQ built-in if we wanted, just really kind of focus this in and I think I kind of do. So now I'm getting some of that upper shimmer from the river but nothing on the real low end. And that up just a little bit more to go. So play around with Tiber hybrid reverb. There's a lot of fun stuff there. 57. Reverb: All right, last on our list of time and space, we have just a good old fashioned reverb. So let's make a new return track for this. Let's call this one reverb. And let's throw our reverb effect on here. Now note the presets here that can save you some time. Hall rooms special. We've got a lot of built in reverbs here that can get you started. But here we have a bit more of a typical reverb. We've got size, stereo width, shape, pre-delay. Little bit of a cut that we can do. This is going to modulate our early reflections to give it a little more, to get it kind of moving, we can turn it off if you want. You can add a chorus. It's built-in here. And then again, obviously if we are on a bus, we want this all the way wet. Okay, so can we apply reverb 2? But a little reverb on that sushi thing. So a little bit more predictable reverb. It's not going to get you any strange effects, but a good sounding reverb. 58. Audio Effect Rack: Okay, Up next we get to our utilities section. Now these are extra things. A lot of them don't even make sound. They just kinda show us some things and facilitate doing other things. The first one is our audio effects rack. Now this one definitely make sound and this is probably the most powerful thing we have in our whole list of effects here. Now we've looked at midi effect racks, and this works essentially the same. We're going to spend a lot of time on audio effect rack. So when we go into performance, but I do want to just introduce it here. K. So it does work the same as audio effect or acts and Instrument Racks, all of which we've looked at already. So we can load in audio effects. And we can create really dynamic audio effects by using the chain selector and the macros. Let me pull up a preset here. The presets under audio effect rack has some really awesome stuff. And it's really kind of strange that all of these are listed under Utilities. But still they are. We've got performance and DJ stuff will look a lot at that later. Amps, simulation, mixing and mastering presets are actually really good. Modulation and rhythmic. Let's grab one of these and just take a look at it. Let's throw it on this track. Okay, so here's my rack. So initially everything is hidden and we just have our Macros. Just like the other racks, we can get access to all the devices in it by clicking here. If you have live sweet, if you have an earlier version of live, you might not be able to get in there. K we see here we've got three chains. And let's see how we're choosing The chain. Now. One thing that's different than the instrument rack and the midi effects rack is that our ability to switch between the chains can only be controlled by the chain selector. Okay, and that's this, this kinda teal thing here. And we can see that's mapped to something. It's mapped to the rack dry, wet. Okay, so we've seen they've set up some cool cross fading stuff here. So we have left-right and dry. So the dry fades out as we go up. The left and right, get more intense as we go up. Cool, and let's see what's on these. On the left one, we have an Auto Filter with all kinds of stuff. All those green dots show us that everything here is mapped out to a macro. So a lot of stuff in the Auto Filter. And then this utility which looks like is just boosting or cutting or gain a little bit. Probably dependent on either the drive. Probably the strive setting. A right channel has probably the same effects. Yes. And our dry probably has nothing. Yeah. Nothing. It's just sending it right out. That's our dry. So what you can see here though, is that you can cross-fade effects, which is like mind-blowing, really cool, right? You can create really dynamic and really cool effects with the audio effects rack. So spend some time building stuff with the audio effects rack. I think you know how to use everything in it. Just remember to map something to a macro. Here is going to control click on it and say mapped to, and then pick your macro. And that's going to put it out here. Remember you can map multiple things to the same macro. Can rename your macro with Control R. You can rename your chains with Control R if you want to adjust the volume of your chains. And that should get you everything you need to really start building some cool effects racks. Play around with this stuff in, with these presets to, there's some really great stuff in here to play around with. Again, more on those in Part 6, when we start talking about performance. 59. External Audio Effect: Okay, external audio effect. This one is, let me just throw it on something here. So we saw external midi effect, right? Or external instrument. With external instrument, what it basically did was create a way for us to have a midi output and an audio input so that we could route our midi out of our computer into a synthesizer and an audio from that synthesizer back into our computer. This is the same kind of thing except it's audio out and audio in. So this gives us a way to route a signal through any kind of hardware unit that we might have. So let's say you've got a, a really cool distortion pedal that you really like. And it's just like a guitar style box. You can totally use that. What you would do is you would say audio to, in my case, I'm going to say channel one, right? So that's going to send the audio out of my audio interface on channel one. And I can boost it or cut it if I want. And then I'm going to say audio from, and I have to set up my outputs are my inputs. But I can set up my, another input. So I would say input two or whatever. To listen back for that. Then I'd run a cable out of output one and then run that through into my distortion pedal if I wanted. And then out of my distortion pedal into input two or whatever my input is that I select here. And now I've got a signal with a dry wet amount that's going through this track. And then right here, it goes out to that distortion pedal back in. And then I can keep doing stuff to it. So just gives us a way to send something out of our computer and then take it back in without doing all kinds of weird routing up here. Quick and easy way to do that. 60. Spectrum: Alright, now let's look at spectrum. Spectrum is a, is, is one of these ones that doesn't make any sound. It just shows us what's going on, particularly useful when we're mixing and mastering, shows us a really clear picture of our frequencies. So you can put it on any track to see what's going on. I'm actually gonna put it on the master. Okay, so here's our spectrum. So we can see what's happening. We can also open this up. And we can even pull this bigger and get our nice big clear view. What's happening. We have some settings here. If you're doing mastering, you might want to update this so that you're seeing things the way that you want to see it. But this shows us where all our frequencies are. If we're heavy on any particular frequency, if we've got any problems, will be able to see it here. Okay, I'll set that loop to not be weird. 61. Tuner: Tuner Diener is exactly what it sounds like. You can throw it on a track and then use it attuned to also tell you what pitch something is. So if I want to go here and I just say what pitches are coming out of that thing. Kinda look at it. Really set out to sea. And we want to know what pitches the singers is doing. Hopefully something to do with C. Okay, it looks like it's a fluttering around C minor ish or a minor ish. So that works okay against that. C takes a music theory. So you can use it sometimes to figure out what pitches are if you want. But you can also just use it to tune. And I'll just show you. And if you're sharp or flat. 62. Utility: Last but not least, utility. Utility is kind of a little Swiss Army knife does a couple of things. If you have a situation where you need to like flip the left and right channels, you need to take a stereo file and make it mono. Things like that. Utility is what you're doing. You can invert the phase. You can swap channels, can adjust the width, the stereo width. You can just make it mono. You can just treat it as base, as mono base. And then you can adjust. Again. You can just give that whole track of boost or cut and pan it. You can also do a DC offset and just mute the track. So you'd be surprised this is fairly useful little thing. You don't need it every day and you don't need it on every track. But sometimes if you get like a weird audio file, you might need to go in here and swap the left, right channels. Do a DC offset, something like that. So so know that it's there. It can help you out. 63. What Comes Next?: Okay, that was Part 5 on all of our effects. So coming up next, part 6, we're going to get away from the nitty-gritty and more into how to use Ableton Live 11 for mixing, mastering and performance, specifically DJ. So we're gonna do some work on mixing and mastering. I'm going to pull in some help for that one. And got a mastering engineer who's also an Ableton Certified Trainer working with live 11 now and he's making some videos for me on how he does that. And then we'll be talking about DJ techniques and performance techniques and all those fun things in Part 6. So look out for that, it's probably out now. So dig around for that. I'm sure you can find it. 64. Bonus Lecture: Hey everyone, want to learn more about what I'm up to you. You can sign up for my e-mail 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 are or both? And we'll see you there.