Ultimate Ableton Live 9: Part 3 - Producing & Editing | Jason Allen | Skillshare

Ultimate Ableton Live 9: Part 3 - Producing & Editing

Jason Allen, PhD, Ableton Certified Trainer

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34 Lessons (3h 7m)
    • 1. Intro

      2:31
    • 2. Arrangement Editing Intro

      1:03
    • 3. Timeline Commands

      12:07
    • 4. Moving Clips

      7:44
    • 5. Tempo And Time Changes

      12:33
    • 6. Downloading A Session

      5:47
    • 7. Session Editing Intro

      1:00
    • 8. Setting Up Loops

      7:59
    • 9. Editing Clips

      12:01
    • 10. Tempo Changes In Session View

      5:21
    • 11. Time Changes In Session View

      3:58
    • 12. Adding Harmony And Basslines

      11:57
    • 13. Back To Arrangement Button

      3:43
    • 14. Record To Arrange

      5:23
    • 15. Beats Intro

      1:21
    • 16. Working With Loops

      7:47
    • 17. Chopping Up Loops

      8:03
    • 18. Consolidating

      3:46
    • 19. Slice To New Midi Track

      9:52
    • 20. Working With Drum Racks

      6:17
    • 21. Creating Your Own Drum Racks

      6:42
    • 22. Recording Drum Racks

      5:00
    • 23. Synths Intro

      1:38
    • 24. Layering Synths

      10:08
    • 25. Freezing And Flattening

      3:15
    • 26. Audio Effects Intro

      0:39
    • 27. Basic Audio Effects

      7:18
    • 28. Automatiting Effects

      2:40
    • 29. Advanced Production Technques Intro

      1:08
    • 30. Side Chaining

      6:20
    • 31. Bussing

      4:37
    • 32. Resampling

      3:48
    • 33. WrapUp

      2:30
    • 34. SkillshareFinalLectureV2

      0:36

About This Class

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

This is Part 3: Producing & Editing

This is a really deep class - tons of content, tricks, and tips. I'm giving you SIX sessions to play around with. One of them (the first one) is even a finished, published complete track of mine. We are going to be covering how to produce using Ableton Live, starting from working with clips and going all the way up to some advanced production techniques. Topics include:

  • Looping
  • Locators
  • Key Mapping
  • Reversing Clips
  • Time Signatures Changes (session and arrangement)
  • Meter Changes (session and arrangement)
  • Adding harmony
  • Working with vocal samples
  • Creating beats
  • Working with one-shots
  • Slice to MIDI for beat production
  • Drum racks (!)
  • Consolidating
  • Recording/Writing Drum grooves
  • Layering Synths
  • Freezing & Flattening
  • Audio Effects
  • Automating Effects
  • Side-Chaining
  • Routing & Bussing
  • Resampling
  • ...and much more!

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

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

He currently is a professor atĀ Augsburg University and the CEO of Slam Academy in Minneapolis.

Praise for other classes by J. Anthony Allen:

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

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

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

Transcripts

1. Intro: Hey, everyone, welcome to able to live producing and editing, uh, in this class, we're gonna cover Aton of stuff. This is a super meaty class with a lot of content. In fact, I think I'm giving you four sessions, including this one we're looking at right now, which is a completed track off my latest album on I'm gonna give you these whole sessions to download a couple of them I'm gonna make in the class. You're gonna watch me, make him. I'm gonna walk you through everything and I'm gonna give you the sessions to play with goof around with steel. My samples do whatever you like. Um, we are going to cover editing in a really serious way here and producing with able to live . We're gonna We've got a whole section on making beats, um, different techniques for making beats consolidating, slicing the midi track, designing your own beef from scratch. Using MIDI. We're gonna talk about drum racks. We're gonna talk about audio effects, midi effects side chaining, busing, all kinds of techniques and a whole bunch that I'm forgetting. You know, I make these intro videos after I record the whole class. So that I can tell you everything that we're gonna learn. So I just finished recording middle class. But there's, like, literally, so much stuff in this class that I can't even remember everything that I covered in it. It's taking me, like, two weeks to record this whole thing of working, like, every day on it. I'm really stoked. I think you're gonna love it. So let's dive in and have some fun in this class. 2. Arrangement Editing Intro: Okay, We're going to start with arrangement view editing. So this is a huge topic, Like editing stuff, an arrangement view and a lot of it we've already touched on. If you've taken my other able 10 classes that came before this one, um, so I'm gonna go through and talk about some tricks that I use. Well, I'm editing, and I'm also gonna walk you through this track. Um, this is a track, uh, that I just kind of put together for this, um, kind of a happy, little bouncing around kind of track. Um, it's got a bunch of audio in it. It's got a bunch of Midian it. Ah, bunch of noise. Pulse is and things. So I'm gonna walk you through this track. Um, by the end of this section, I will have talked about it significantly. So let's dive in and start talking about editing 3. Timeline Commands: Okay. I want to show you to Ah, tricks for ah, working in the timeline here. Ah, in this video. So two things I want to talk about in this video are, ah, markers and ah, kee commands for Luke braces and maybe even key commands for launching from markers. Um, so let's start with markers. Markers? Are these guys right? Um, so what you do is you put a little flag down here and then you give it some text. Now, I use these while I'm working as basically, like, kind of idea spots, like I'll say, I'll listen to it and I'll say, Okay, harm is what that says. Meaning, um, you need to thicken up the harmony here and then make the harmony stronger and then make that synth pulse come in here. Ah, the counter line starts to happen right there. And then somewhere like here is like the second big section kick comes in here, stuff like that. So, um, to make one of these, all you have to really do is go to this area and control click somewhere and say add locator. So they're called locators. I call in markers sometimes different software causing different stuff able to cause them locators. So as soon as you create one it it automatically names it by the the number last used, its kind of Ah, so I've got one called too. So this one already automatically came up. It's three. So if I just click out of it, it's called three, and that might be fine. I could also click on it. Command are to rename and say, um, this is where base hoops base enters or something. Um, these could be really useful while you're working for a couple of reasons. One is that we can, um, keep track of our compositional form by doing this. That's the main thing that I use them for. Um, and we can just kind of leave notes for ourselves. I always equate it to like like when I write acoustic music. You know what if I'm writing on like a piece of staff paper, I like to scribble notes in the margin, you know, and just say, like, you know, don't forget the cello. Ah has a solo here or whatever. These are kind of the same thing. Are they can be. They can't. That's one purpose that they can, they can have. Um if we're gonna get rid of one way, just control, click on it and say, Delete. Or we can actually just hit the delete key. Ah, we can also move them just by clicking and dragging. And you'll see that some of these markers that I've put on here don't make a ton of sense. Like if I go here harm like there's not a big harmonic event that happened there like I didn't add a huge harmony. I was planning on it, which is why I put that flag there. But then later I decided, Let's just have this baseline kind of enter there. It's actually like a cello line. Um, so I changed it. Um, when I got more into the composition, I changed it, and that's totally okay. So I could either change the name of this or I could just leave it or whatever. You know, it's a note to myself. One of the other things that's handy about locators is that you can launch from them. So if I just hit play here on, then her if I just click on the locator and then I had space bar I can launch from there, or I can double click on a locator and launch right from it. Right. So double clicking on one will let you launch. Remember, it looks kind of like a little play head, right? Like this and this. And if you remember session view when we put a clip in here, we get a little You know, this looks like a little play head, which looks the same as what one of these looks like. So it's kind of Ah, cue that. It's, you know, it's basically a play had double put right on it, and we launch. Now, um, there's a couple other things you could do with with markers. One of the things is you could set up key commands to launch from each marker. This is a cool little trick that we haven't talked about yet and that something will get into more when we start talking about using controllers and stuff. But let me just introduce it now. This is kind of a big, huge topic, but what I'm gonna be talking about here for a minute is called key mapping. So what key mapping lets us do is basically create a key command for anything we want. And I find this to be really useful with markers. So I'm gonna do it. Um, I'm gonna sign different keys. Tow launch. These different, uh, markers are locators, I should say. So. All I have to do is go up to the key button right here. This is super easy. So everything that just turned orange here is stuff that I can make a mapping to. Basically what that means to put it in other words, is anything that's orange. Right now I can assign a key on my keyboard to do it to hit that thing. Right. So I see my my locators are orange, right? So all I have to do is click on it once, Just give it one click the thing that you want a map and then press the thing that you want a map it too. So I'm gonna press the number one, and you see it came up over here. Key one locator harm. So that means launch that now I'm going to click on harm stronger and pressed. The second key and this one that since pulse impressed three. So I have ki 12 and three set on my 1st 3 locators there. Okay, so they come up in this list. If you don't see that list, that's fine. We also see the little number pop up up there. Right? So I'm gonna hit the key button again here to turn this off. You could also hit command K. If you wanted to. To command K will go into key mode and out of key mode key mapping mode, I should say. Okay, so now everything looks back to normal. Except so when I press the 12 or three button, I'm going to jump to I'm going to jump the play head to those three spots. So when I press to you, see, the play had jumped to right here. So now I could hit space and launch for my there. I'm already playing. I could go to three on. It's gonna jump there. One, 23 So you see what it's doing? It's waiting for the next downbeat. This is working kind of the same way that session view works, right? Like it's waiting for that next downbeat to jump there so you could actually perform this way if you wanted to just with a track in a bunch of locators and then just jump between them, uh, quickly. And you could set your you know, the the launch command. Like how long it weights? You know, right now it's waiting for a bar because it says bar up here. You know, I could set it to an eighth note. Let's try it. So you know, you could actually do stuff that way. It's not recommended way to do it. Um, but I have seen people do live remixes this way where they just pull in a whole track exactly as is. And then they set up a whole bunch of locators and then just use the keys to just jump all over the place in the track. And if you're savvy, um, you can do some really interesting stuff that way. So it's one idea Ah, that you could do. I find it more useful for editing, like if there's a section that I'm working on, and I just need to, like, hit it over and over and over and over to, like, really figure out what it's missing or something like that, I could say Okay, here it is, You know, I can just keep going back to it over and over. So that is key mapping and its handy with locators when you're in. Ah, session view there. Sorry. Arrangement view. Uh, we don't really use locators in a rare session view in the same way, right? Because there's no timeline, so it would be hard to have a locator. We do have similar things, though, and I'll talk about those when we get there. Um, so the one other thing I wanted to talk about ah, in this video was some key commands for, um, setting up a loop. So that thing I was just talking about where I would do this, and I want to hear it over and over. And I've set up these key map ings toe work. Let's turn those key mapping off first, and then we'll set it up. So we just loop this section really quick with a fun little key command. So I'm gonna go into my key mapping mode, which I could do with Command K. Or I could just click this key button up here. Everything turns orange. Let's get rid of these three. Easiest way to do it is just to click on it again. We see that little one there. No, no Tate ing that. It's map to the one key that I was gonna hit. Delete. I'm a keyboard. I know that mapping is gone. Same thing here. Click on the three and get rid of it. So now those are gone, so I can go out of key mapping mode with command K and I press 123 and nothing happens, right? Because my key commands are gone. So now those were the gun. I've gotten rid of those. So what if I just want a loop this section just so I can, like, hear it over and over and over Really easy. Basically, what I can do is I can highlight a chunk and then I need to set the loop Brace up here. So it's already set toe loop. But my loop brace is huge, right? It's Aiken. Zoom way out and I could go like this and find where it goes. And this is very tedious, you know? There we go. So now I've set that toe loop. That's one way to do it. Let's go a different way I'm gonna undo hope it's not. Let me undo that. Let's just say that this is all outside of what I want. Okay, Let's say I just want a loop that much, and I don't want to zoom all the way out and manually move that Lou brace. Ah, Command. L will set you up with a loop of exactly what is highlighted. This could be super valuable. So you're working on something you like. I just need to hear this thing 1000 times command l boom that sent my loop braces on exactly what was highlighted. Right. So let's say I just wanted to loop, You know, this one beat command out. Right? So now, now that I've done that, I'm going to with the arrow key, I can move that loop brace all over the place using arrow right and left, Right? So I could say, Here's my first beat. Okay, I got it. I'm happy with it. There's a second beat, or I could say Okay, now I need to hear this whole chunk command l Now I'm hearing that will kill, right? So, command l is just going to snap your loop onto whatever is highlighted, and it doesn't even matter what track, right? Because the loop Ah, the loop brace loops everything. Ah, that's horizontally in that line. So, um, super handy little trick for getting around. So that is locators looping Luke Brace. And a little bit of a teaser on key commands or ah kee mapping. We're gonna talk a lot more about that later. There's a lot you can do with it. You can pretty much map any key to almost anything and any midi signal to almost anything so more on that in the future. But for now, just a teaser. Hit that key command, press the thing you want to map it to once and then get going. Okay, so let's move on to some more editing tricks. 4. Moving Clips: Okay, So before we get too much farther, let's just do a quick review of, ah, moving around clips. Ah, and our basic mixer functions and things like that. So, um, remember that we can click and drag clips, and each of these is a little clip, Remember? Ah, for editing. We can copy, click somewhere else and paste. We can also. And this is much more useful to me. We can option click and drag, which will leave original where it was and make a duplicate wherever we drop it. So option click and drag is a really ah valuable tool. Um, much faster than, um, copy and paste. Um, we can mute a track by turning it off here on this is called the track activator. We can turn it off, turn it on and weaken solo a track here. Um, we can adjust our volume here. Ah, now you might notice that I have this kick muted, and it's got a little red dot on it. So I think we talked about red dot in earlier class, but let's let's refresh them. Uh, anyway, so a red dot in the parameter means that something is automated. There's There's a, um, parameter that I've explicitly told to change. At a certain point, that's what that means. So this track is muted. This kick is muted. So if I look at the kicks, I'm gonna click on. So you can always see what is automated by just clicking on that thing and you'll see the automation. So there it is. I've clicked on it, and now I can see. Here's the automation line and and it's off because it's it's down low. So this particular parameter only has two options. It's on or it's off. So here it's off and here it turns on right. So if I go here, I've told it toe override my automation by clicking on it. So let's re enable the automation. I'm gonna click up here. This is Ah, this is actually a very complicated button up here, but for now it's going to tell us. Turn back the automation, turn the automation back on. So let me just actually walk through what I just did again in case that was confusing for the autumn. So it's off here, right where my cursor is. This track is muted. So when I clicked on it to select it. I turned it on, which is the opposite of what the automation is telling it to Dio, which therefore this button turned orange and it said, You're giving me conflicting information is what that button basically says. It's a bit more complicated than that, but it basically says you're giving me conflicting information. So, um, it's going to do what I last clicked. It's gonna leave this on even though the automation is off until I click this and say, Go back to the automation. So now this track is off now it turns out right. So there's my kids. So you might be asking yourself, Why do I even have this here? If it's muted, the reason is it's actually serving a very important role because it's side chained. We're gonna talk about side chaining in this class soon. Um, but just file that word away for a while, side chaining. If you know what side chaining is. We're gonna talk about how to do it when we start talking about effects in a little bit, Um, but this needs to be here, but I don't want to hear it, so it's muted, but it's still doing stuff more on that shortly. Okay, I have somebody tracks here. If I double click on a midi track, I can make this a little bit bigger. Weaken cr notes and our velocities. I can move notes around, up and down and change them as I wish down here. I've got all these noise. Ah, files. These They're just audio files of Just, like, big swooshes of noise that I've made. Um, I like using these for, like, builds and things like that. Um, let's just here and then I'm gonna tell you how I like to make these. So ah, lot of these noises. I'm making another program, but the ones that I do make here, one of the things I do is I'll take a sound and I'll just stretch it way out all basically warp it way incorrectly. That's not what I'm doing on this one. But sometimes, you know, I'll just make sure it's stretched way out, and you get all this noise in there. Sometimes I just start with using my throat, just go into a microphone and then stretch it out. It's dumb, but it works. Um, this one you can see that I've transposed it down by 11 cents, which is almost an octave that's looking another one. Here, Um, this woman is down by eight cents. So this is just changing the pitch. Um, not any big warping stuff on here. This one. I've kind of radically warped because it thinks the tempos 295.38 bpm. So that one I'm, like, really stretched out. So different tricks. They're up here. I have these little swooshes. Let me just solo one of those. So what? These are, as you can see, it zooms up, and then I have the same file again. Backwards. So here's how you would do that. Just make another one over here. So the way I first of all the way I made these, you can see that it says, See why MBI This is just a crash symbol. Slow down and put backwards. Um, so you had a crash symbol slow down a little bit, turn it backwards, and you get a nice type sound because that's crashed. Symbol backwards. I've done a couple other things of this one as well, but, um, it's basically a crash symbol backwards. So, um So, actually, this is more like the original. Let me pull one of these out here so we could just hear this. And I've avoided the actual crash right by saying the start point is forward so that we don't hear the actual crash is much right. And that those those weirder sounds that make it sound like a car going by that that new type sound that's from the stretching. So now let's add a copy of this backward, so I'm gonna make another copy of it. I'm going to go down here and right here, Rev That's going to reverse that sample. And there it is. And then if I want to do what I did here, I'm just gonna bump these two up against each other and they get him right out right up against each other. I'm gonna need to zoom in. There we go. Let's hear it. Right. So now it makes that that kind of boomerang effect of it's going and coming back So backwards. Cymbals and reversing samples. Ah, good trick time. Stretching and reversing. It is always great for sound design. Um, remember, this is the reverse button right there. Okay, so I think that gets us up to speed on some of our basic editing stuff. Moving clips around, reversing samples, reversing clips, I should say, um, and things like that. So let's now dive into some more complicated things of changing time signatures and, um, changing tempo within a track. It's kind of tricky, but there are some handy ways to do it. 5. Tempo And Time Changes: Okay, let's talk about Ah, changing meter and changing tempo. Atsu changing tempo first, cause that's a little bit easier to understand. So this is our master tempo up here, and what we're talking about is what if we wanted that to change either gradually, over time. So it's the thing speeds up or suddenly where it just jumps to a new tempo. Um, we can automate the tempo, but it's a little hard to find, which is why I'm making a special point of, um identifying it for you because I want you to know exactly where it is because it can be something that's really frustrating. We're trying to find it, Um, and a lot of programs. They put something called a conductor track. It's kind of at the top usually, and it shows you all automation for things like time and meter and things like that. We don't have a conductor track here. What we have is this master track down here where those same functions are in it. So when we automate stuff in the master track, ah, we can do a couple different things. Well, let's just talk about the master track for a minute. so we can automate the volume of the master track. Right. So whenever we get this dotted line, you know, we can automate it. So this is gonna turn the master volume down. Turn my loop off here. Right. So the volume of the masters going down, that's not incredibly smart thing to do, but it's there. Um, we could also put effects on the master track. Um, like, if you wanted to put, you know, a compressor on everything, you could put it on the master track. Um, again, that may or may not be this morning thing to do, but it's up to you. Um, other things we can do here with the master track is the tempo and time. So if we want to just the tempo, we would do it down here. Now, if I haven't pointed this out explicitly, let me know that if there's any parameter you want to automate enable to live, you click on it. And then this pinkish line becomes that thing. Right? So we could find tempo by hunting through, um, these men, you these two menus here and we could figure it out, see song tempos right there, or much faster is we could just go up here and we could click on tempo. And as soon as I click on it, look what happens down here in that master track. Those two lists boom song tempo, right? If I want to change, you know Ah, the volume again. I just click the volume, and that's what this line becomes. This line is always the last thing you clicked on that the track can do. So let's go back to our tempo. Okay, so here's our tempo. It's dotted right now because there's no automation on it. But let's add some automation. So let's say right here at this marker harm stronger. It's going to you start ramping up, so I'm gonna put a point there, a break point there, and then I'm going to make another point and ramp it up. Now see what happens to the timing down here. Everything starts to change when I do that right, because that the time change, there's less time happening here, so because it's going faster. So this point is at my session tempo 1 27.62 which is where I clicked it, um, I could zoom in and make sure that's exactly 1 27 if I wanted to. And make sure that's exactly 1 72 if I wanted to. But I'm OK with it. So now it's 1 74 Okay, so let's just hear what happens when we do that. Wait the new tempo. Okay, so that's a tempo change Over time, we can make that. It's slower as fast as we want, just by automating it. Now I can click again on these points to get rid of them. Okay, so now we're back at 1 28 Exactly. Let's do a sudden tempo change. Let's say right here it goes suddenly. So I'm gonna do the exact same process. I'm gonna make a point, and then I'm going to zoom in quite a bit. Make that point right there, make another point and go up and back and just have it jump that way. So it's the same exact process if I zoom out. So, um, pretty simple right time changes. Okay, so let's get rid of that. It's going to get rid of both those two points, so there's no automation there. Now let's talk about changing our our meter this is a little more complicated. Okay, so for a time signature change, That's this here. So we're in for four now. Um, if you don't understand time signature changes and how they work, that's OK. Um, I could recommend, um I have this class on, um, music theory for electronic musicians. If you like it, um, you can check that out. Otherwise, just know that if you're listening to dance music or working with any kind of pulse based music you're probably in for, for all the time, anything different is going to sound a little strange. Um, or be a little strange. Um, So without going into great detail on that, how could you change it now? We're not going to automate it down here in the master track. It works a little bit differently for meter changes. So what I'm gonna do is I'm going to zoom in so that we can see the beat. Let's just randomly pick this bar 26. Let's get it right there. Okay, So now I'm seeing hoops. I'm single too much. Okay, that's good. So now I'm seeing Bar 26. Ah, beat one is what that is. Bar 26 Beat to bar 26 Beat three, Bar 26 Beat four and then bar 27. So in 44 time, there are four beats in a measure. So between 26 27 there's going to be four of these big blocks. Um, And if I've got a kick, just like thumping one's gonna thump on every one of those. So let's change it. 234 So what I'm gonna do is I'm not gonna go up here and click on this to change it and expect it to automate down in the master track. What I'm gonna do is I'm gonna make a locator, so I'm gonna control, click and say insert time signature change. Remember, this is the same place that we made a locator, But up here, we're going to say time signature change. And now you got to be careful here because I didn't click exactly on 26 now it's gonna put that time signature change in this really weird spot. So I'm going to undo that and make sure I click right on this spot, right? Ambar 26. You could do it at a weird spot if you wanted to. That's totally allowed. So now I have inserted a time signature change. Now it's waiting for me to type something. And what it's waiting for you to type is a number slash another number. So if I wanted to be 34 I'm going type 34 right there, right? Um, no, I'm going to return. And now I'm in 34 How do I know? Let's look. So remember, Here's Bar 26. Here's Bar 27. So this is Bar 26. Beat one Bar 26. Beat to Bar 26 Beat three and then bar 27. What happened to Bar 26? Beat four. It's gone because there is no beef or in 34 time, there's only three of them in a bar. So from here, all going forward all the way to the end of my track. I'm going to be in 34 but I want to change back to 44 I'm just gonna make another locator hoops down here. Insert time signature change back to 44 by writing four slash four, and now measure 27. We'll have four beats. There's 27.4 now This is an interesting little ah thing to deal with, because what does this sound like? Ah, when we go in and out of 34 for that bar, Well, let's find out. So here's Here's the bar before and we'll hear the 34 bar right here and then back to the fore for more. Let's give us two bars. Okay, here's two bars and then the 34 Okay, so how did that sound? Different answer. It didn't, um It sounds the same, but ah, everything is weird. Once we get to 44 it sounds the same. But our downbeat is in the wrong spot, right? So if we counted 1234 way feel the downbeat is now unbeaten to which is not what we want to dio we want to feel the downbeat, downbeat one. I know this is getting a little music theory heavy. So this 44 bar, because I already had all the music written in 44 when I added this 34 bar, All it really did was shift my time up here, you know, shift my bars and beats up here so you wouldn't really want to do it this way. The better way would be, um, to rewrite the track so that everything lines up. So this is essentially still might be four. Because I wrote it into the track that way. So if I deleted this and I did this for all tracks going down and then moved everything over, that's actually do it. There's my beat for as my beat one. That might be four as I beat one thing before Pete one. So I got to get rid of this beat for everywhere. Doing this will actually let us here this 34 bar, because without it, we're just playing right through the 34 bar. Ah, without anything changing, this is gonna be a proper 34 Okay, that's everything. Let's hear it. No. Now we will still hear the downbeat happening on Measure 27. This bar will just be missing a beat four. So we'll have a weird little hiccup in it. Right? So now you can kind of hear that 34 because there's a missing beat there before were just playing right through it. So now we've got a proper 34 in there Should we want and that makes perfect sense. So that's how you would change the time. Now again, if you, um if you're making, like, music, that's, you know, centered on a pulse. And people are dancing. You're gonna make everyone fall over if you do 34 bar bars and even weirder bars than that . Um, my music uses a lot of tempo changes because I like him. Our sorry, a lot of meter changes, which is what we would call this. This is the meter. Um, but it's a little bit weird. So, um, watch out for those, um, just remember that if you just add a tempo change somewhere, it doesn't change any of the notes or any of the music in here. You're just gonna play right through it Unless you need toe line. Everything back up on a downbeat. That's why you'd want to change the tempo so that it can line back up and you can see things on a downbeat and they sound on a downbeat right. On a downbeat Is anything with just one of these numbers. These are all the down beats. 28 29. 30. Okay, I think I beat that to death. Um Okay, So some good basics on editing working in the session view. Well, let's first working in the arrangement view. Let's jump over to session view now. Ah, and see how things are different there and work over there for a little bit. 6. Downloading A Session: everyone. So here is that same session again. And what I think I'm going to do here is ah, upload this whole session us You can download and play with it. Um, if nothing else, you know, we'll give you a starting point where you can start poking around a session and really see how it's put together. There's a couple things about downloading and uploading a session that I want to point out for you before I just give you this whole file. So I'm gonna give you the whole next file in the next lesson. But before you do that, take note of a couple things. One is that while the most important thing is that I have stuff on my computer that you don't have and you have stuff on your computer that I don't have meaning, like I've installed some plug ins that you don't have, you have simpletons that I don't have the ones that you have that I don't have Don't concern us when it comes to you opening this file. It's the ones that I have that you don't have. So when you open this file, um, what I would like to avoid is you seeing an error message that says, You know, um, we're missing this this file, You know, this plug in, um, it's going to tell you what I'm using in here that you don't have, and it's still gonna open it. Even if you don't have those things, it's gonna open the session. But it's going Teoh sound a little different because you don't have them. Now, I know that there's one plug in on here that I need to find, um, and get rid of called live Cut. I'm not sure what track it's on. However, you know, you should get this live cut plug in if you like doing glitchy stuff because it's awesome. Um, and let's see if I can find it right here. Well, that's probably one. I'm not sure what that is, but let's just get rid of it. Okay? So this is a good example. This is using a plug in that I don't have on this computer, so we're not hearing it. So on my main computer, I had a plug in here, some next gonna Well, I prepare it for you guys. I'm just gonna replace it with just something that makes sound. Let's hear what that does. Okay, that's fine. So I'm replacing it with something that's built into a built in so that I know you have it . Um rather than some fancy plug in that I used. I'm just scanning here to see that everything is standard. Now, this one is an interesting one. You see this word? Freeze. We're going talk about free shortly. But what I did here is I was using, um I think I was using Omni Sphere or something. One of the big plug ins And what you can do is you can do this freeze trick which basically takes a midi plug in renders. That is audio. So you don't need the plug in anymore. Ah, your editing control over that is much smaller because you don't have access to the individual notes anymore. But ah, it was the only way I could get the file off my main studio computer onto this laptop because I don't have omni sphere on this computer. So this has been rendered as audio using this freeze trick. You can do that by if you go to a midi clip control, click on it and go to freeze track. And then after you do that, do the same thing again and this will say flattened track. If you do both those two things, it'll just print it as an audio file. So I did that with this base sent as well. Um, nothing else on here that I think you'll need. It's going way down to the bottom, see if there's anything else on the easy There Just audio files with no effects. This might have live cut on these drums. No thing else over there. Okay, so I think we're in good shape. So the next thing that you need to worry about is the actual content, right? Because the all of these audio files and everything you need to have those. And if I just send you the able to file you're gonna get the MIDI files, we're not gonna get the audio files, or at least not all of them. So I need to make sure that all of the audio files from all over my computer are packed up into this session and they get sent to you. Um, otherwise, you're gonna have a lot of files that look like this. Where it's going to say clip deactivated and because it can't find that audio file because it didn't come with the session. Now the way that we can make sure that doesn't happen is I can go. You know, we go to file and save set and safe set as but what I want to do. Especially when I'm gonna send a session to someone else. Is this collect all and save what that's going to dio as it's going to take all my files, all the audio files, everything that I'm using and pack it up into one package. It's gonna make the file way bigger, but that's OK, because I want to make sure you have everything. So I usually leave off the files from factory packs. Um, because you probably have those, but maybe just for you guys, I'll put it in. So I say, Okay, now when I go look at this session, it's still saving. It's gonna take a minute, but if I go look at the session, here it is. It's called three ish. Now I have presets and samples, and I have all of these samples in here. The ones that I used to make this session, so that should give you everything. So I'm going to give you this whole folder and you'll just have to launch the ls file and that will open everything up cause its gonna know, um, all of these extra things in there. Cool. So, um, I'm gonna give you the session in the next clip are in the next video, so download it, goof around, have fun with it, go crazy. 7. Session Editing Intro: okay. And this junk, we're gonna talk about editing and arranging in session view. So composing a track in session, do you? I think for this one, I'm just gonna kind of work on ah, basic track in front of you rather than start with something that I've already made for this one. Um, so we're gonna be going over, you know how to set up your loops, right? How to set up everything to launch an order. How to kind of print it as an arrangement back to the arrangement view. We're also going to be talking about this this crazy back toe arrangement button, which is one of our weirdest little buttons in, ah, session view. And it causes a lot of confusion for people. So we're gonna devote some time just to that, so that we know what's happening. Um, so let's dive right in and let's start by setting up a couple beats to work in our new session. And then we'll add Cem midi since, and baselines and stuff to augment those 8. Setting Up Loops: Okay, so the first thing I'm gonna do is set up warping. So I pulled in. Ah, couple different sounds here. So let's actually pull this down out of the way and just look at these three things. So here I have just a straight up kick. I have a beat and I have a clap. So let's set these all upto work, right? So if I just launch all three exactly as I imported them, let's hear what happens. Okay? Claimed of a problem. So first of all, the kick is looping, but the loop isn't right. The this drum loop does not loop, and this clap just happened once and then stop. So let's fix the easiest thing. First, let's make this from loop loop by turning on loop. Now, let's make sure that it's warped correctly. Um, this is just able to in figuring it out. So let's solo it and turn on the Metrodome and just hear what it sounds like. Okay, that sounds good to me. So that one's right. Okay, Next, let's work on this kick. So we want this kick to happen at the same time. Is this one? So let's hear it with the Metrodome and soloing it. Okay, so this is just all over the place. And when I zoom in down here, it's got this weird. Like, I don't even know where this sample came from, but it's kind of terrible. So I just want 1/4 note kick. Just thump, thump, thump, thump. So what I could do is warp all of this to get it just right. Or I could make a one beat loop. So let's just go and find one nice kick. Like, how about that one? So let's do this Command. L set my loop 0.2 right there. Also set my start marketer right there. And let's be sure and get this right on the beat. So I'm in between beat four and the downbeat of the next bar. So just something my life. Easy. I'm gonna push this over to be right on the next bar, because that way I can easily see without doing math that my loop braces set up right for a full bar because going from 9 to 10. Okay, Now I need to make sure my start point is right at the right spot, which, when I adjusted it right there. It moved away. So now we've got our loop starts. Our loop is one full bar, and it's just one kick. Right? So now this is gonna loop every bar, right? So it's gonna go thump 234 thump 234 So the kicks should be right, But it's only gonna be once per bar. So let's try it with our metronome. Okay? That's right. But what I really want is Ah, don't don't. Right. So all I gotta do is shorten my Luke Could be one beat, right? So I didn't need the warp that full track. I just wanted that one B two b, like dead on locked in time. And so all I really needed was that one beat. So now this clip has that has just this one beat, we see the whole other file on the whole other file is here, but we're only using this one beat, and that is totally okay. So now these two are gonna be perfectly in sync. So let's mute this third of this clap and just hear these two so totally and sick. Now, let's deal with this clap. I could do the same thing for the clap, but let's see what's happening with the clap. So it's just solo it. Okay, so it just launches right away, and it's just a really short little clip. So for this one, what I'm gonna need to do is I want to actually do the same thing I did with the kick, but I want to offset it so that it happens on B two and four, maybe. Yeah, it's putting on beat two and four. This is gonna be a little trickier. So first thing I need to do is make sure it's starting right on the downbeat, but I think it is. So if we loop this turn on warping and then loop. Okay. So now it's happening. Something like every 16th. No, but the loop isn't right. So I've got to get that loop length, correct. And I need more time than this file is. So what I'm gonna have to do, um, let's go. Toe loop position is 11 length is 1/16 note. So let's set that to be one bar. So So I had to go longer than the file is, so I just had to draw it in down here. Okay, so now my loop length is one bar, So let's suck this in. Sorry. My screens. A little off center. Let's set this into being one. Beat two beats. Let's make it two beats long. So we get clapped to clap for clap to clap for Like that. Okay, so let's hear it with the Metrodome now. On 2341234 Okay, so I've got it on one and three, but I wanted on two and four, so that's a problem. So and let's set my loop position to be back. Right? So now I'm at my Lupus, starting at beat. Four of negative one. Right? So this is the downbeat. This is where I'm starting. So what that's going to give me So let's see. I gotta start set my start position back here also. So now hopefully I'm on two and 42341234 Yeah, that worked. So what I did as I set this up as a to beat loop, which which gave us this, right, and that put it on beat one and B three because beat two and four was on the off beat here . And then I just rolled back my Luke brace by a bar so that it starts. So now this is beat one, and this is beat to, then this is B three, and this is before. So even without the whole drumbeat in the middle here, that's unsold. Low the clap, turn it on and turn off the B in the middle. I should have a kick on every beat and a clap on two and four, which is generally what we like. Let's try it right, and because that is Luke just like that, that is just gonna go on forever, right to four. It's just two seats. It's a to beat loop here in a one beat loop here, right? So that could happen all night long. I can add in my extra beat, and it should be in sync, so that's working. I can adjust the sound of that when you pull it in, and that's working great. So setting up some of those loops in those weird ways don't always think of loops as, ah, full bar loop or a full eight bar loops or anything like that. Sometimes a loop in session view is just one beat, an arrangement view to, I guess, But sometimes it's just one beat. Sometimes it's just too beats. That's all you need to get it locked in and perfectly tight. 9. Editing Clips: Okay, So the next thing I want to show you is how we can reuse different parts of loops. Um, by taking the same clip and nudging our regions around. So, um, I'm gonna drag in a vocal sample here, and I'm just gonna throw it right on this track over here, and we'll call this our vocal track. So we'll say, will rename this and call this box. And while we're at it, let's rename this and call it kick and this will call beats and this will call clap. Remember, that's just command are on the name of the track. Let's look at this vocal track. So, um, I just want to grab this vocal track from free sound dot org's. If you're not familiar with free sound, check it out. It's a great place to get royalty free samples. This particular sample I just grabbed was in this the noise gate tutorial. But it's really cool little vocal sample in this thing that brings May to nine. Cool, so that is a little noisy. So it is a noise gate tutorial. I hope this is the before, um, but that's OK. I can deal with the noise Um Okay, so here here it is. Pulled in. Okay, so let's do something with this. And in fact, I want to do two different things with this, right? So, um, first, I'm going to set up some more plates, kind of divide us in half and do this part and then this part leader. So let's set up some wart markers. I'm going to just kind of set up the beginning in the end here, because I just want to focus on this beginning and end, and let's make this two bars along. So I'm gonna drag out this to their to this for beat four thing, actually. Going to get four bars long. So now I'm just gonna kind of randomly eyeball this and put transience and new syllables right on beats if I can. Let's see how well this works. So I'm just lining up significant rhythmic moments with the grid, just as a starting point. That might not work all that well, but see, when I pull it too far like that, it gets a little concerning, but Okay, so now let's just loop this area. Thes four bars. Command l find my start point. It's right there, actually want it right there. And I want my loop to start right there. Right on Beat one. Okay, so let's hear what we've got. And let's put it just against the Metrodome for now. So I'm gonna turn off all three of these. I guess I could have just sold it, But what you got in Theo? Okay, so I stretch it out too far, which is what's causing those glitches. I could clean that up by going down to this my warp mode and setting it too complex. Pro. Maybe. Theo, it's a little bit better. I could adjust my envelope here to get a little better. However, that glitchy beat sound. I kind of dig it. Um, kind of got that. That daft punk vocalization glitch to it that I like, so ah, let's maybe stick with it. However, I'm not wild about the world where the beats are falling. So let me adjust those t o. I kind of want sweet to be on the next beat this school. Let's stick with that. Okay. So now the key here that I want to point out is that I'm using these 1st 4 bars. I'm not using this stuff. It all for now. So hold on to that for a minute. So let's set up this track so that, um maybe my kick starts. Let's do the kick in the clap, and then this beat will come in. So I'm gonna put it on a separate, seen down, down, lower. And then I want this kick in this clap to keep going. So I'm gonna remove those stop buttons. That's command E. He hasn 11 I guess. Command E. So now when I launched this first scene, we're going to get the kick in the clap. When I launched the second scene, we're going to get the beat and the vocalization and the kick in the clapper gonna keep going because they didn't get a stop button because that command he was removed Stop on. So let's see what we've got. Let's turn these tracks back on. They're not from Metrodome. We got a cool groove going on to the next one thief opening back, Theo. Okay, Now, let's use a different part of the vocal for the next thing. So the next thing let's keep, um, the beat going. So I'm gonna remove that stop button. Or maybe let's use this beat. Let's see what this is, Theo. Different beat. That's cool. We'll have it switched to that beat and do a different vocalization. Okay, so I'm gonna option click and drag. So I'm gonna duplicate that clip. Right? So now they're the same thing. But on the 2nd 1 I'm gonna change the loop. I'm gonna use the second half of it. Now, What's cool here is that I'm using the full loop both times and just heard the full clip both times was what it looks like here, but the two different parts of the loop for the two different clips right now, that doesn't actually mean that the computer is loading in the clip twice into memory, right? You would think that maybe doing that would actually slow down our computer because it's got a load this clip 100 times. If we do this 100 different ways, it doesn't actually only loads at once. So this is not dragging down our our computer to put that another way. Um, you might think that would be easier to cut this clip down to Just the parts were using and then import that and then cut it. Cut the second part down to just the part I'm going to use next and then important that as two separate clips that actually uses more ram very slightly. Um, but the way I understand able to working, I guess I could be wrong on this. But the way I was told was that this actually only loads the clip in once, um, and just references different points. So, um, so this is a better way to do it. So let's do that same kind of warping thing here. So let's put that on a downbeat. Um, let's do I'm going 4 to 7. I don't like odd number loops. So, like 4 to 7, only three bars. Let's try to do this in just two bars. So let's take this and just push it outside of my loop area for now. Then just see where everything lines up. Um, do Let's put that there and that there. This is not a very scientific way to do this. I think so. Let's go there and there. Put that on and beat. Put that on to be okay, so let's just here with the Metrodome our new segment. Solo it. Oh, I like it. Except for that. Let's try it with the newbie. Oh, Theo. Okay, let's point out what just went wrong there. Um, I launched seeing three here, Right, Which didn't launch kick four clap because they weren't already going. Uh, and I didn't remove these stop buttons, So command e on both of those. Let's get those going. Now, let's jump to close three. Okay, Pretty cool. Um, you know, and let's just get crazy with this vocal sample while we're here. Um, because I'm gonna try to build something interesting here. What if I added a harmony to this one? How could I add harmony? That is two voices singing different pitches? Let's just try it. Um, the way I'm gonna do this is I'm gonna insert another track here, insert audio track or command T. So here's a blank track, and I want these to play at the same time. Right. So I need another track. So I'm gonna duplicate this one and put it over there. And now I'm gonna go to my transpose here and see if I confined up. Ah, setting That will work well. Ah, this is gonna be really hard to do because I don't have control over the individual notes. But let's just wing it and say, Um, let's do a major third, which is 1/4. That might not sound great, but let's just try it. That's kind of weird, but it's kind of weird, but I could maybe make it work with it with the right harmony. Okay, so that is adding Ah, harmony, Right. I just duplicated the track. I changed the transpose amount. Ah, little bit so that these two happened at the same time and one of them is at a different pitch. Um, let's let me actually try going down now that I think about it. Okay, that's a lead. A less interesting harmony, but it's a little safer to use. Okay, The next two things we need to tackle our time changes in tempo changes in ah session view these work quite a bit differently than we saw on arrangement view. So, um, worth pointing out because, you know, we don't have a timeline here, so Ah, we can't just automate them into it in the same way, but we can just a little different. So it's dive into that in the next video 10. Tempo Changes In Session View: Okay, So what if we wanted a tempo change in between these two clips? So first thing I'm gonna do just cause it's driving me nuts is I'm gonna turn this harmony way down because I need to finesse that quite a bit more. Ah, for it to really work. So how can we change tempo? So I launch seen too, and we're at a tempo on. Then I launch seeing three and I want us to be at a new tempo. How can I do that without a timeline? It's actually pretty slick the way it's written in here. So what we're gonna do is we're gonna change the name of our scene. It seems that you have all three scenes, so I click on it. Command are does like everything else. Let's call this intro. That's call our next scene. Um, Box one and our next one, box two. Okay, now there's some magic that happens in the name of the scene, so I'm going to say box one space and then any number followed by a BPM. A Bolton is gonna interpret that as a tempo change. So all I have to do is say so. I'm at 1 28 now. So let's say let's go slower. Let's go. 90 bpm. Okay. I just type the words 90 bpm because I hit return. This play had turned orange, right? We know the Lawrence boxes are little red red orange boxes. Mean automation is in that. So this is a whole different kind of automation, but it's still functionally the same. Okay, so let's launch intro. Okay? There's my chicken. My clap. Now let's launch box one and we're going to slow down to 90 0 no, I did this backwards. So it's under it. Remember? I wanted to do, uh, the 2nd 1 I get rid of that. It did turn off the automation box two is what I want to be. 90 bpm return, and now it's in there. So lunchbox one thing e like that, beating that better. Thanks. So what just happened was when we went from box one box to it saw this and it changed our tempo right when that clip launched to 90 bpm. So we stayed totally tight. Now we've got a little bit of a problem now because now I want to go. So here I'm on walks you. I want to go back to box one. What's gonna happen? That is a problem. So what I need to do here is I need to rename this 1 28 bpm so that it knows to kick that back upto 1 28 ppm. And just as a general rule of thumb, in my experience, what you should do is if you're going to write tempo into your the names of your scenes like this, you should try to get in the habit of doing it for all of them. Even this intro, because remember, they don't go backwards. So if I go, if I start on intro and then go down to box one and then box to has a tempo change but Box one doesn't if I decide to jump back, which even if I don't normally jump back, um, for rehearsal, maybe I will, once or twice. And then my temple is gonna be all screwed up. Um or maybe I'm just feeling it differently one night and I decide to jump back. But then everything falls apart because my temples wrong. So if you're going to be doing this changing tempo stuff, get in the habit of doing it everywhere. Um, that's what I like to do. So now every time I start this clip, it's gonna jump for 1 28 bpm, no matter what I do. And now, if I just decide to go straight into the second vocal track, it's automatically going to go to 90 BPM. But then, if I go back, Teoh first vocal back, we're gonna be back at one. So every scene knows what its property. Okay, so that is changing tempo. Using just kind of magic words in the name of the scene doesn't work in clips. It's got to be on the scene. And you all it needs is a number followed by the letters BPM without a space. So you just type in, you know, 40 bpm, and you're gonna be going incredibly slow. BPM stands for beats per minute. Ah, if I didn't say that earlier Ah, and that is the same division that this number is 1 20 pm And let's just do one quick thing while we're here. We'll keep your eye on this number up here. This 1 28 When I launch this scene, it's which is right over to 90. Silence the next scene. So it's changing the whole session Tempo right there. Great. Okay, so let's talk about changing meter using a similar trick. 11. Time Changes In Session View: Okay, What about meter My global meters up here, Right? We just talked about meter and arrangement view. So what if we wanted to do that in session view? We don't have a way to right into the timeline, so there's got to be a way to do it. And it's the same kind of magic word thing. So let's say this box to was in 34 so I can change the name of it, and I can say 90 bpm space three slash four. And that 34 is going to get acknowledged as well. Ah, it's gonna be interpreted as a command to change the time. So now let's keep our eye appear on 44 when I launch theme for four at 1 28 My lunch box, too. Way jumped you 90 bpm. 34 Now, what did that 34 change Really? Nothing in the way that it sounds right here. Um, we're still hearing clips that are in for four. Right, so we're not hearing it. But if we listen to our our Metrodome, we would hear that everything is gonna be off because I'm using a 44 beat in the 34 section . Let me let me just do that. So maybe that will make sense. Let's solo the beat here. Listen for the accented note of the Metrodome. 121231231 Even though it says B three, this was one to us. So it's off from the the, uh, clip, and that's okay. Um, this is just for an example. So you'd really only want to do this if you through, you know, a clip in here or wrote a clip that was in three or some other tempo you might want to change your you would want to change the tempo so that everything still lines up on the down beats. Now we have the same problem here in that. If I called this 134 and now I jump back to hear my Metrodome is still counting in three, and you can look up here. It's still counting three, right? We're only getting one twos and threes. So if I do that and I'm gonna jump backwards, I need to rename this scene and call it for four. Right now. This one jumps back before and it's counter before, So just to be clear. You do not need both. You can just do for four. Um, without a tempo change, you could have both. You can have one, or you can have the other, or you could have done so now we're just We're not gonna change tempo now. We're just going to switch meters. Um, you can put bpm after I believe. I don't think the order matters network just fine. So the order doesn't matter whether the BPM comes first or the temple comes first. Um, live just kind of knows to keep an eye out for a number, slash another number, and interpret that as a meter change and look for a number with the letters b p m after it . And interpret that as a temple change. One last thing to consider with this stuff is that means that do not ever mark your name, your scenes. Ah, number slash number. You know, like don't say like, this is section three, part two. And so you're gonna call it three slash to Don't do that because it's going to interpret it as a tempo change. So watch out for those two things. As far as I know, Those are the only two things that are these, like magic terms that the session view are the seen name interprets as a, um, command for automation. I don't think there are any other ones, so just watch out for those and use them if you like. Okay, the next few. Let's add some MIDI stuff to our track that we've got going here and see if we can add some harmony and some baseline. 12. Adding Harmony And Basslines: Okay, so I want to add some melodic stuff here. I'm gonna do it with the MIDI track. So I need to figure out what pitches are gonna work best with this vocal thing that's happening. So let's start with this first vocalization. Let's turn my metro Mama. Ah, quickly get rid of my changes here because I don't actually want those. Those were just for demonstration. I'll leave that one at 1 28 just so that we know tow. Launch it at 1 28 Okay, Now let's hear this organization. Okay, so I need to find some pitches that will work well with that Now, I'm not gonna go over how harmony works in its entirety in this session, but I am going to show you a trick to figure out what's gonna work Well with that. Here's how I'm gonna do it. I need to add in amidi track. So command shift T command T makes an audio track shift. Team X committee track. I'm gonna drag this one all the way left. Ah, and let's call this Ah, harmony for now. Maybe I'll call it something better later. Now what pitches are these? I need to figure out what pitches those are in order to find notes that will work well with it. So let's put an instrument on this midi track. Let's put Ah, I don't know, maybe accordion. Just something generic here. Ah. Okay. Let's put this Canadian boards preset on here. Okay, So now, now I've got an instrument on this track. Let's copy. So, command, click and drag this audio clip onto this midi clip under this muddy track. Sorry. So what's gonna happen? It doesn't know what to do with an audio clip when you put it on a MIDI track. Except it does. This is super cool. Check this out. So says, what type of audio material are you converting? What we're doing is converting audio material into midi, which is a fancy way of saying Tell me what pitches it is, So we give it some direction here. Is it drums? Is it harmony? Meaning is it, um, like a piano part or some like that, Or is it just a melody? Meaning Basically, there's one note happening at a time which in vocals is usually true. So let's tell it, it's a melody. Okay, now I'm gonna double click and look at that clip. So these are the pitches that thinks it is. Let's hear just those 1st 2 tracks together to see if these sounds good in its way. Okay, that's kind of cool. It works pretty well. There's some notes I could touch up, but I kind of like it. So now that we know what pitches the vocals are doing, I'm going to zoom in this way. Now, have a look at it. Looks like we're in and some kind of e flat or maybe b flat. I'm gonna clean up some of these just little notes and then let's add I'm just gonna add some notes, and this is just gonna was gonna kind of follow my gut on this and put and e flat here and just let it roll through the hole clip. And then maybe I'll also put, um, let's get risky and try to put a G in there. That's gonna make some dissonance right here. But I think I like thin this year. But it's gonna fund which the court changed, though, So let's go to here and then let's do you are going to duplicate that note and move it down , Teoh, Let's put an F and expect this one lower. De is not gonna work very well before three. Okay, that works. Great accepting. Get rid of that note. Okay, let's call that good. So now we've got some harmony notes that I put in again. If that was tricky, what I was basically just doing there was just kind of using my ear and knowing what notes kind of work well with different other notes. So that can take some experimentation to really get that to get good at finding stuff that works well. So now that I have that, let's add another harmony part. So I'm gonna go shift command T and let's add in, Um, I don't know, Let's go to sampler. Let's do it. Could maybe do a pad. I want something with a lot of pitch eso maybe I'll just go with, like, a piano. Um, it's kind of nice. Throw this this kind of bell piano on there. So I'm going to duplicate the same track on here again. But I'm gonna change the midi notes. I just duplicated it to kind of use it as a starting point. Get rid of these notes in these notes. The vocal line. And I'm left with this harmony Gonna rearrange it Just a touch, maybe down and active and let me go down and see if I could hear a thing. It's kind of cool. Um, let's add a baseline. So another midi track. Um and I'm gonna copy this midi clip over and use it as my starting point. I'm gonna find my notes and let's see, Let's take that first note and that note, but I'm gonna move them down. Number shift down. Arrow is the active. And let's see if we can find a good quick baseline. Oh, okay. Let's just throw this on there. It's not amazing, but it'll work. Okay, now, let's hear. Let's look at brother stuff back in. So I'm going to stop everything, turn the rest of my tracks on and let's just start it one by one. So let's add in. Okay, so let's just start with our keys. So, uh oh, something that right here, I see. What's that? Right. Okay, so what? I I was seeing things not lining up right. And the reason was we were still set 234 from the previous lesson. Let's try that one more time. Okay? Looks good. Germany weight in our baseline way. - Get rid of the three stop buttons. With that, I can switch Teoh to soothe. - I think everything Theo. Okay, It's not a bad start, so we had a lot of material to that. A lot of those harmonies. The main thing to take away from this is that when you set up a midi track, put an instrument on it and then dragon audiophile to it. It can try to analyze the pitches for you, which can give you a really good starting point for building your harmonies off of it. Because in a case like this, it works. Great. Now, one thing that happened in the process of doing all that is this little button right up here turned orange on me. Now that is important. Um, it's not affecting the sound or anything right now, but, um, what did I do to make that turn orange? And what is that? But in the first place, it's a very confusing button. And in the next video, I want to spend some time talking about that button and how to deal with that button. 13. Back To Arrangement Button: Okay, So why did this thing go off? This is called the back to arrangement button. Let's actually look at we go to info view are a little bit in full view down here. The mouse over this button. Ah, let's see what it's called. So actually, they call it now re enable automation. It will be used to be called back to arrangement button. Um, but we've recently changed the name of it. Um, so here's what it says re enables automation. Ah, for any parameter that are currently over written in the arrangement or in session clips. Note that this button is only active if you have manly manually adjusted a parameter that is automated. So let's die sucks that a little bit, I said. I think in an earlier lesson here, I said, This thing goes off when it sees conflicting information. I like to think of it as the conflicting information button. So you've automated some parameter, and then you've changed that parameter outside of the automation. So the conflicting information can be a few different things. It can be The automation in session view is different than what I told it to change, or it can be. The information and session view is different than the information arrangement view. So I think one of the things I did was I adjusted of one of the volumes here and that conflicted over with the way it's set in arrangement view. Right? So if I go over to arrangement view you see all this stuff here, right, And this is now our back to arrangement button. So this is re enable automation. This is back to arrangement. So what it means is I've got two different sets of information something in session view and something an arrangement view. Take me. If I click this button, it's going to say, Take me back to what's an arrangement view taken back to the arrangement and tell me that the arrangement is correct. Um, so I'm gonna click it, and all that stuff goes away and we're back in business. I still have this button here, so I'm going to say re enable automation, I think actually changed that. When that went off, when I had, I was still had something automated here to be in 34 and I typed 44 over here, so it didn't cause me any trouble. But if you've got a complex session going on, it can actually just kind of mute track sometimes because it says, I've got too much information going on and I don't know what you want to hear So it can. It can decide when it's got conflicting information. It can either decide which one to use, which is usually the arrangement, or it can just stop playing altogether. So back to arrangement, button and re enable automation re enable automation means there's conflicting automation. And so I've shut off automation. Click that button to turn it back on, and then that back to arrangement button that shows up over here when it needs to be there means you've got conflicting information between the session view an arrangement view. And if you click that button, it means trust arrangement view as the correct for ah, both automation and just general settings. So that's that Button does. In general. You're pretty safe just to click on when they go off just to reset them. Unless you're working on a parameter that you've got automated and you're adjusting it just to test some new things out, then don't click it. Keep testing it. Ah, and then rewrite your automation to match what you just did. So those are those two buttons? Super important. Ah, super tricky to understand. Um, but think about those things, and, um, try to wrap your head around them as they come up. 14. Record To Arrange: Okay, so now we've got a little track started. And what we want to do in this video is figure out how we can write this track to the arrangement view. In other words, record our performance. So I think I did this in one of the early videos and one of the previous classes, but I wanted to show it to you one more time. Now that we've gotten deeper into this and understand how some of these tracks get made. So what I'm gonna do to stop everything? Ah, I'm gonna hit record and then I'm gonna play through an arrangement, right? And it's going to record it over deception view. That's what this button appears going to dio are Sorry. It's going to record it over to arrangement View were in session, you know? So I hit record. Now I'm rolling and let's do the same thing I did before. So let's launch my harmony. Gonna do a little bit of an accelerated version here. Here's my melody. Baseline way, Pull in the clap way Vocal and the second drumbeat bythe And then I stopped recording. I can just space bar here Now let's go over to you arrangement view And there it is. Right now. Everything's great out right? Because of this button that we just learned about back to arrangement. It's saying, I've got I've got stuff here. I've got stuff there. What do you want? Your looking at arrangement view now? So if you want to listen to the arrangement view, let's click that. So now we're listening to the arrangement view. Okay, so here's everything I recorded, right? And, um, each loop is here. I can adjust it. This is what I relaunched the clip. Everything shows up in its track. Here's the clap. Here's the kick drum. Let's look at the kick drum. So this is, you know, remember that kick drum? Was this really like, out of sync? Weird track, like down here. But after I recorded my performance of it, it's just super straight because it's just that one beat looping over and over and over so I could listen to my performance. I can adjust it. I can send me I didn't want to kick to come in here. Let's bring in right here s so I've got a lot of control over my performance and adjusting it to be exactly the way I want it and getting it rock solid. So basically, I could do a performance in session view recorded, two arrangement view. And then if I want Teoh Aiken, tweak it, um, and, you know, fix anything. I screwed up. Or, um, change the decision I made while I was performing in session of you or whatever. Ah, but most importantly, now I can ah, save it as a file. I can export audio, I can say, Um, yes, save the master, export it. And now I can get it down to an actual audio file. Um, so and that is the process for getting it down to an audio file that I can print publish? Ah, you know, put on iTunes. Send to your girlfriend, boyfriend, whatever. That's how you do that. Okay, So I think we've talked a lot about session view and a lot of different things you can do with that and made a whole track using it. Um, let's work out. Let's move on to a section Ah, whole section of this class. I want to talk about about building beats and some tricks that I've found for working with beats. Now, if you're not interested in beats, don't worry. Um, I still think you should watch this because I'm using beats, really, as a framework here to talk about working with short samples samplers, um, and some other techniques. So it's worth watching whether you're into beats or not. Um, because we're going to be basically working with, ah, one shot type sounds, which is like a snare hit and building beat patterns out of them. Um, which might also be a piano sound or any other sound that you want to work with, so don't think of it just as beats. But, um, that's primarily what I'm gonna be talking about, but you can apply this these techniques to all kinds of other stuff. So let's jump over to another, another video in another section, and I'll see you there 15. Beats Intro: Okay, let's talk about working with beats. Now. Now, I think, um, if you've been following along so far, you should be pretty up to speed with a lot of different editing tricks and techniques. So I think, ah, lot of this will be applying what we've seen using some other material and with a handful of new things because we're gonna be talking about consolidating slicing the midi tracks. Um, there's actually a lot of new things in this. Um, like I said in the last segment at the end of last segment. Ah, if you're not making beats, this is a lot of this is still a lot of really important information that I'm gonna be doing in this section. I'm going to be applying it to beats, but, um, it doesn't need to necessarily be focused on beats. I'm basically just using that as material. So, um, keep track of everything we're doing, especially slice to midi track drum racks. We're going to start talking about racks in this section, which is a really powerful tool to use Ah, and then just some more basic editing stuff like consolidating and things like that. So let's dive in Ah, don't be thrown off by it being called beats or being focused on beats. Think of this as, um, more of an advanced editing section, so off we go. 16. Working With Loops: Let's start with a few more things about working with loops. Now. We've looked at a lot of different aspects of loops. I'm back in arrangement view, and I want to show you a couple things. So I have here just this this drum loop here. Let's just have a listen, Okay? It's Hall and fast, right? So this is a 1 34 BPM loop and I'm at 96 beats per minute. Um, so it sounds like it's going really fast, even though I'm only at 96 beats per minute. So let's see how it's warped here. So let's turn on our Metrodome. Okay, so it's warped, right? But, um, double time, right? So let's look at a couple more, Ah, settings that we could have for our clips down here. So we have this. This is basically divide by two and multiply by two. Right, so segment BPM 67. Let's divide it by two and now seven ppm is 33.5, so now it's gonna be twice as fast sounding. It's still warped, right? But it's twice as fast, so that's the opposite of what I wanted to do. I'm gonna multiply it by 2134 right? So now let's hear it. So same warping, but ah, cut in half or multiplied by two in terms of tempo. Now you see here that when I multiplied it by two, what was a two bar? Luke became a one bar loop, right, Because I had it highlighted like that so I could get the other bar back by just stretching this out all the way to the end of the loop, which is there. So now I have the whole thing back. If I cut it in half, we get twice as much. See the loop ends right there. If I cut it in half again, we have four times as much, right. It's just insane. So let's go back to where we had it. So now we're at a segment BPM of 1 34 and we're playing it at 96 more in the ballpark of what we want. It's actually pretty cool groove at that speed. Little laid back. I like it. So watch out for those Ah, double in half down here at thes divide by two multiplied by two reverse. Also, we looked at reversing the other thing not terribly useful on beats because your snare hits and simple hits are gonna be backwards, you know, but can be fun sometimes. Think it that again. Go forward again. Um, also, another thing that I want to point out here is if you're in arrangement view like this and we stretch this out, we're going to be getting the loop over and over and over again, no matter how much I stretch it. So there, these two little ticks here are telling me the loop is starting over and I can just stretch it out or not. Let's get to the end of a loop. There's one If I don't have loop selected, I can't do that. Um, if I stretch it out now, it actually just doesn't let me. Right. So gotta have loops elected to do that. And that's basically writing in Ah, the control of your loop. So it's more stuff if looping and you know one last thing about looping. Let's remember our start and endpoint here. So remember, this is our loop brace. Let's get the whole thing in here. But this is our start point, right? So if I adjust this, we have the same lot of material, but we adjust where it's going to start. So let's maybe make it start on beat four or bar for Sorry. So the last bar. So let's say you've got a four bar loops and there's like a Phil at the end of it. So what we've done here is we're gonna put the fill in first, So first thing, we're gonna hear the fill, and then the loop starts over groups. So now this is my full length of the loop. Now, this is gonna be five bars, right? 12345 Because the first thing we hear is just the last bar of the loop, because that's where I'm starting from. And then we get the full loop, and then from here on out, we're going to get the full loop, So that will sound like this. Right? And they were at one here, so not that much of a fill in this section. But you can kind of see how that could be. That could be useful, right? What if I just wanted to do like a one beat drop in? Right. So now I've got one beat and then the loop starts, right? So it's going for one, and that's cool. The only problem with the way I just did that is now all my down beats are gonna be one beat off. So what I should do if I'm going to do that is set it up like this, right? So that I have beat four here and then it starts over on the downbeat. Right now I'm on. I basically have a pickup measure and then it starts. Let's go back to not doing that. And just set are start point at the beginning. So we have a normal loop. Don't forget command. L sets the global loop. Well, actually, command else, it's the loop, no matter where you are. Um, if I'm in the arrangement window up here and I press command l it's gonna loop whatever I have highlighted. If I'm down here and I press command l it's going to set the loop point to be whatever I have highlighted also right? It just depends on what we know. You're in. So that way I just did it fairly silly, right? Because the loose business set up right, Let's go back. So I'm going to spend a for select all and then come in to get the whole loop back in action. I know, right? Okay, so a couple things about working with loose before we get started, mostly this halftime in double time thing down here. I want to be sure you get that right so that if you have a beat that you pull in and it's, you know, twice as fast as you're expecting or halftime of what you're expecting, then you can deal with it. Ah, quickly. With that, you don't have to reward the whole track. You can just set that up. Now, here's a little trick that I like to do. This doesn't always work, and I'm not. I don't know if it's gonna work on this track or not, but let's try it. I'm gonna make another audio track. I'm gonna put this same clip down here That was just option click and drag, and then I'm going to do double time on it. I'm gonna pull the volume of this one down, so it's a little bit quieter now. I've got the same exact drum pattern, the same exact beat, but this one's going double time and a little quieter. Sometimes this is a really cool effect. You know, it can be again. It can add a lot of energy to your track, especially if it's just a great intermittent thing. You're throwing it in their own like one section toe. Pull it in. It kind of sounds like you're adding a big delay to it, but you're not. You're just adding, um, the track again at double time. Okay, next, let's talk about creating our own drums are our own loops by chopping up some loops and making them our own in the next section. 17. Chopping Up Loops: Okay, so let's take this drum loop and make it our own. So what I'm gonna do is I'm gonna chop individual sounds out of it individual hits and try to put together my own thing. So I'm first thing I'm gonna do is zoom way in, and then I'm just gonna highlight a couple things. So I'm gonna copy, and then when I just paste into a new track, I could also pace at the end of this loop. But it's a little easier just going down, up and down that way. So, copy Paste, get some of these hats and their copy pace. Let's see. Did I get all the elements? I think I did. There's really just kind of three different sounds in here. This kick high hat and snare. Except for at the end of the loop. There's that big thump. See if I can find that. There it is. I don't know if I want to use that, but I'll grab it. Put it down here, pull it back. Okay, here's my three sounds. So next I'm gonna mute that one. Um, Now, the easiest way I've found to do this and this is totally a personal preference issue. Um, is I'm going to you get rid of these two Midi tracks or just that one muddy track, I guess. Now I've got three audio tracks. I'm gonna put each sound on its own track. So there's my high hats, and there's my big thump. So I need one more track. Command T Let's put that down there. Okay, Now, I just need to work on the grid. Now, I like to do this and a fairly tedious way. And before you dive into doing this, I'm gonna show you actually an easier way to do this later. Ah, in the next couple videos. So, like, really soon? Um, what I want you to get out of this video, though, is just minute, um, editing ideas. Right. So, um, let me just show you how I do this. So first I'm gonna solo this track, so let's see what this is. Okay, so that's my snare drum. I turned this track all the really quiet. Okay, what's my snare drum? Normally, I'd like that on two and four. And let's just loop just this one. Bar command l So that I hear this over and over. Cool. So let's add a little finessing of the snare drum in there. So what if I I like to do this thing? Let's do that. So I'm gonna grab just the tail of the snare. Just this blast, Little bit. Copy that. Paced it out here. So it's just like a little echo of the snare drum. And I can use that as a percussive element. Zoom way in, though. I'm gonna line this up, Do something like this, Like that sound I really want. Is something in there, Actually, even something like that, Maybe a little longer. Mm. Thats sound isn't really getting me the sound I want, but let's try it. Okay? It's not bad. Okay, so it's got this little quick little machine gun thing in there. Let's even make a little crazier, all right? Now let's maybe highlight all of these and go down and just pull the volume down on him a little bit. It's cool. Okay, so I've got this cool, fun sound. Now, let's add in another element here. So solo, multiple things here. So I'm gonna get rid of everything, is gonna mute everything and just turn on my snare drum. Now it's who we've got here. Okay, so here's my kick. Normally, we would like our kick on one and three. Well, let's see what else we could do with it. Stick segment of that kick. You put it here. Delayed a little bit. Kind of nice. Put that at the ends. Well for that. Okay, cool. That's how this high hat in Hey. Hi. Hats. We might want on all the notes or not. So let's just put it all over the place for a minute. You know, I got that I had everywhere. Now let's add some more. Hi, hat. So I just cut off that little tale of the high hat. Just give me a little more where Ever make the sample a little smaller. Okay, that's pretty fun. I like it. This one. I'm not gonna do that one. OK, so I got three tracts of sounds now making up my deep, and I'm pretty happy with that. So that's how you can take a beat and chop it up into its little components and piece it together to make your own. Let's listen to the original. Okay, That's the original. It was in the mind, so it's quite a bit different. It's using the same sounds, but I'm, you know, making it my own by doing these fine slices and everything. Now, how can I render that as its own loop? Pretty easily? Actually, I could just take this loop, make sure everything's set up the way I wanted. This one is muted. The rest of them are on. And then I could just export it. It's probably the fastest way to do it. And let's call it, um, Loop. Let's put it here. And now I've got it as, Ah, loop that I could just pull in. So I just rendered it as a loop with solo This here. Right? So it's all in there. I can let's we've been a little more right. It's got that cool little shuffle. Um, I could that I could also set up a track for re sampling if I wanted to, Which we'll talk about soon. Um, okay, so that's that. Okay. The next thing I want to talk about is another way of doing that same thing, which is Ah, I take that back. Not another way of doing that same thing, but another way of doing that process of getting this down to be our own loop that we can work on it is called consolidating. So let's jump to a new video and talk about consolidating to make loops. 18. Consolidating: Okay, So consolidating is taking a bunch of clips or segments of clips and converting them into one clip. So, for a case like this, what I might want to do isn't is keep the sounds by themselves, but make it so that I can loop them, right, because right now, if I could select this whole thing, copy it, and I could paste it here. But because of all this empty space, that's a little dangerous. Like it's gonna work what I just did. But I could also do this. And what I just did here is I screwed up the whole loop, right? Because, like, this doesn't start on beat one. And it's just weird. So we tend to not want to do that, because unless we paste or place things exactly correct. Ah, they could get misaligned. Especially when you're using these such tiny little eclipse like that. So how could we make basically this one big clip that I could just loop? It's easy, actually. Um, I'm gonna highlight it, and then I'm gonna consolidate. So I think I can go here. Consolidators right there. It's also command J. It's the easiest one for me to remember, because it's my name. So command J is gonna take that clip and make it into a full, uh, all of those clips and make them into one clip. Now, what's cool about this is that it includes the empty space, which is important for, like, this one that doesn't start on the downbeat, right? But because I highlighted from here to here, it basically just froze all of that and made it into its own clip, including the empty space. So if I do that with this one, it's gonna leave this empty space at the end, which is exactly what I want. Because if I loop it, I need that empty space at the end are all still loop isn't gonna look back correctly, right? So Command J and the last one command J Okay, now, if I turn on looping for all three of these, I can stretch him out and they're gonna loop, and everything is gonna be great. Let's say I want the hi hats to turn off right here. That's cool. I can copy. Put the hi hats back in right there. And now we're still going. Let's pull it over there. So it's this here what they just did. Oops! My snares air still soloed, right? So consolidate command J take a bunch of stuff and turn it into one loop. You can make those as big or as small as you want, so check this out. Let's take all of this with this break in it and turn it into its own clip. Right? Selected all command J piece of cake. The only thing you can't do is consolidate between tracks. Like, if I do command J here, this track stays the same and this one while they both stay the same because they were both consolidated didn't really do anything there. It cant smush multiple tracks together. It's on Lee within the same track as what that consolidate does. But it's super powerful. So if you've got something where you're doing a lot of little editing once you get it just right, consolidate that sucker and get it to be a single clip that you can move around much more easily. Um, otherwise, you're destined to be moving things off the beat and causing problems for yourself. So that is consolidating 19. Slice To New Midi Track: So what I've done here is taken this original drum loop, chopped out the individual pieces and then put it back together in different ways to make my own, um, drumbeat, right? There's another way we can do that using MIDI someone get rid of all these and let's take this clip. And what we're gonna do is we're going to do something called slice to MIDI track on What that means is that able to and we're gonna tell able 10 to chop this thing up, load it into a midi track and then just let me play it Beat for beat. Cool. They'll make more sense after I do it. So here's how I do it. First of all, I take my loop, I'm going to control Click on it, and I'm going to go down to slice to new Midi Track in this menu. Now it's going to say, What do you want me to call a slice? One slice per transient. Remember, the transient is like the attack, So each attack, um, that will work pretty well, but because this is looped and warped correctly Ah, we could say eighth note, which is pretty much where every transient is an eighth note is gonna be everyone, these little boxes. So, actually, we're gonna miss out on, like that hit, but we'll get that one. So? So we could do 16th. No, but let's do a thought note and see how that goes. Okay, so let's try it. So we say OK, and now here's the magic thing that just happened. So we just created a new MIDI track right here. That's what this big pink line is, and it's folded in right now. So let's open that up by hitting that. And now we see this line going all the way up. So what does that mean? Let's look at it. We also have on this muddy track this instrument, this is called drum rack, which will be talking a lot more about drum racks in the next ah video or two. Um, and what we have So basically, each of these pads is a step, and if we step through this in order by playing slice one size two, it's like three size 45678 We will be playing every eighth note of our initial drum pattern . Every eighth note got a spot here. Right? So what this is set up to do by default is it shows us we're gonna play slice. 123456789 10 etcetera. We're gonna play every ace note going up, right? So that's why this looks like because we're looking at a MIDI thing. It looks like it's a scale that's going, do, do, do, do, do, do, do do, but it's not. It's stepping through every eighth note of the drum pattern. So that means, in theory, this should sound the same as this. So let's try it. So let's solo are drumbeat. We've got one extra bar here because you see, the loop starts over here, so I and 1/5 bar in my loop so it ignored that. So here's theory journal. Okay, now let's hear the midi fied version of it where it's gonna play every ace note one after the other. So again we should sound the same. Okay, it's quite a bit different, isn't it? Um, for one, it's much more dry for two. Those eighth notes that happened in between the eighth note got warbled. Somehow we could probably find those there. They are. So if I double click on slice six, I can look at this and try to figure out what's going on. But let's get right in there. I can't really warped from here, though, so but what I could do is trim this off so that it just plays that just plays one note so that would work. And then what I could do if I want to get fancy. It's like a go into the Midi notes finds Fly six. There it is. And instead of it trying to play both, I could do this. Right now. It's going to do it correctly because I'm gonna play slice six, which isn't which was initially too high hat hits. But they weren't lining up right. And now I say, Just make that slice one high hat hit, but play it twice. That's gonna play it in time correctly, at least the first time this happens. See, so here these were straight earlier, they were not. So here's the 1st 1 that have first time it happens. Hoops. Let's look at slice, too. So let's fix that one by zooming in on this and telling it meant, let's make this just one high hat by shortening the loop or the segment that happens in slice too. And then we'll go here and tell it to play that twice instead of so that was here to notes , but that are in time, right? So now hear, Boom, boom instead of boom! Boom. So I hope that makes sense. And this is kind of complicated what I'm explaining here, but let me try toe explain it one more time. Really quick. Um, this was 2/8 notes out of sync was in the slice, right? So what I did is I changed the slice. It was only 1/8 note that happened right away, right as it was attacked. And then I told it to attack it twice so that it would be perfectly insane because the media is what's launching each slice now. So what we're hearing is actually this drum groove, but eso the same exact sounds. It's just recorded into the drum rack, which is down here. Right? So each one of these is the individual sample, so I can see this one just plays that this one just plays that this one displays that etcetera, and you can see, we're stepping through every one of these. I can scroll up and get to more of them. So here they are as I just move my arrow keys around. So now, though, what I can do is I have a bit more flexibility here, so I could get rid of all this stuff. I don't need it all my sounds air in there and I could just program my own drum beat. Ah, by just doing crazy stuff. So let's just go like this. It's gonna randomly put Midi notes together here and see what happens. That was goofy, but I kind of liked the very beginning of it. Let's just sleep that much. Um, I think this is giving me problems. - That's better. I'm just trying to get everything lined up to make that group. So you know, that's kind of cool. So that's sliced amidi track. We can do that with anything. We can take it. We can say sliced committee track. And then we've got all our sounds available to us here in these different slices. And let me show you one more thing that we can do here I can go to slice one. I can rename this. Let's say that's the kick. That's hat and that's snares. Just command are on this. Now. When I go over to my mini grid, I see down here kick hat and sneer, right, So I could do some really fine tuning stuff by just placing things where I want him. And now I can work with all of those same sounds on the MIDI grid. So Sliced Committee is a really powerful tool for creating beats and creating any sounds, um, that have a rhythmic element to him or that even don't. Sometimes I've had some good luck just chopping up synthesizers that way. So slice the new me track. You get to it by control, clicking on an audio file of some sort and going to slice to new MIDI track that way 20. Working With Drum Racks: So in doing that last lesson, we've kind of opened a door. We've opened a Pandora's box into racks. Racks are a whole different kind of thing. Enable 10 that we haven't explored yet. But I want to walk you through the first of three ways that will deal with racks right now . So this is what's called a drum rack. Now, if you go to your instruments panel up here and let's close everything here, you will find three different kinds of racks. Drum rack is right here, and it's got a bunch of presets that will look at shortly. Instrument rack is right here. That's a rack of instruments. We have a rack of drums here. We can have an instrument rack, and the 3rd 1 is over in effects. Audio effects will have audio effect. Rack those your three different kinds of rack and thes rack. This rack concept is like there's there's so much to it. It's like super crazy deep, um, that you can do with racks. Drum racks are kind of the simplest of them. Um, but let me show you just basically how they work. Um, with drum racks. So what? We have here is basically all these different pads, right? And in this case, what we have is a sampler or actually, a simpler, um, which is an instrument over here. The simpler on each one of these racks, all playing the same file. But here's what's crazy about this. You can put anything you want on each of these keys, right? Each one of these are a key on your keyboard, right? I could play these, like, now I'm playing my midi keyboard, right? And the different sounds air happening cause I'm triggering them with this. This is basically a keyboard. Um, I can also que him this way. Or I could kill him by writing Midi like this, But I can put whatever I want in here, so check this out. Let's say, um, let's put this acoustic bass sound on sliced 13. Boom. I just dropped an entire synthesizer on this pitch on this pit. Yeah, on this note, this midi note Let's put, um, this rez ascent on nine. Now, this is tricky to do because I don't have a lot of control. I don't have any control over what pitch it plays. It's probably playing. Ah, hi, see or middle C thats by default. There is some things I can do to give myself pitch control, but for now, um, I can't, um, until we look at the next thing. Um, so you can throw individual samples on here. I could throw a whole loop. Here's a loop. An audio file of a loop. I could throw that whole loop onto one of these if I wanted. Right, Um, this has an individual sample from before this has a pitch. It's wild, right? You can literally throw anything on these. Any of these slices can have Ah, whole synthesizer in it, or sampler or a simpler or an audio file. Or you could throw a whole bloody track into one of these if you want to do, um, so you throw each one of those in there. You've got all the settings of the sampler of the simpler in there. If you want them, we can do whatever we want in terms of adjusting the sound. And we Can we have some of these Mac rose on the outside and let me tell you what those do . Let's go back to one of our e slices from before, Say, all these green dots is green dots. They're kind of like the automation dots, right, But they're a little different. These green ones say that something outside of this particular simpler is controlling this parameter. What that is is these. So if I go to sample offset or start offset, I change that. It's changing this one. It's not only changing that one, it's changing all of these, right? Um, all of these air controlled by one parameter, and this is called a macro, right? So, um, the same thing loop length I can control change the loop length here, and it's gonna change him for all of these. And that's just because that's the way this is. This one is set up. Doesn't have to. And it's in fact, not going to control these ones, cause there's no loop length to be had here or this one. There is a loop length, but it's not going to control it because I didn't manually set it up. Um, I can I can manually set up macros to do these eight macros to do all kinds of different stuff, but I don't wanna go down that road quite yet. we're gonna talk about Rack soon. Um, in the next class, I think when we talk about audio effects and instruments will spend a good amount of time on racks. In fact, when I was putting together this whole big Siris of able to in classes, I was considering devoting one whole class to rack. I decided not to do that and instead talk about drum racks here, instrument racks when we're talking about the synthesizers and stuff from the instruments enabled in and effects rack when we talk about audio effects. But it is a big topic, so this is just kind of our first taste under what drum racks can do. If I go to this map button here, I get more parameters, and this is where I could change the pitch. I believe for those synthesizers if I went way down to find one. This is a really complicated one, but there's a lot of different stuff here that I can work with. So let's leave that as it is for now. Ah, for this less and in the next class are in the next video. I'm gonna open up some of these drum rack presets and have a look at them. So we're still stuck with all this complicated stuff because we did that sliced committee. So let's start fresh with a new one and see what comes up when we do that. 21. Creating Your Own Drum Racks: Okay, so I'm gonna delete this midi file. I'm actually gonna delete this drum rack as well. Just get rid of everything on that track. Now, let's throw a drum rack in there. So here is an empty drum rack, right? All I have is the individual pads. They have note names on them, which is what? No, I could use on the midi he ward to trigger those notes. Um, here I have this grid is kind of like the piano roll editor, but designed for drum pads. So I have each one of these. I can look at the macro section. If I click this button here, this is gonna show me those macro is that aren't doing anything right now. And this is going to show me the device in the chain. I don't quite want to talk about chains yet. Trust me. Chains are awesome. And we're gonna talk about them. When we get into instrument racks, we're gonna blow your mind. For now, we don't have anything, so let's create something. Ah, ourself. So, actually, let's go Teoh, um, samples to find some individual sounds. So let's see, There's a conga slap, so I'm gonna drag that right onto a note. It's gonna load up a simpler and I can play it. I can adjust thestreet time. Ah, the loop length. There's a loop amount. Yeah, the loop length. Ah, the loop length. Whether or not it doesn't fade. Um, And then some envelope stuff. We'll talk about more of these parameters when we look at how the simpler works, which will be shortly. But let's just load in a couple other things. Here's a low conga. Just make a little Congo jam here. Gonna load in a whole bunch of Congress. Sounds okay. No, I have five Congress sounds. Let's hear him. Okay, Cool. Okay, so let's make something with this. Um, let's go to our Midi editors. Remember, in these tabs down here, here were in the instrument and a fax window for go down here groups. So we if we go down here, we're gonna see nothing because we haven't made a MIDI clip yet, so I could do two things. I couldn't sit record and then hits a midi notes and records a midi clip. Or I could go to I could select the chunk of stuff and go to create insert Midi clip or shift Command em. So I've got to make a mid eclipse somehow. So I've got one. There. Now let's pull this open. Let's look at what we've got here. So here are the notes. The samples I put put in. I can if I click on the little headphone thing right here, little headphone icon. I can hear them as I move stuff around. So let's just try to make a little jam here. I'm just gonna move these notes, I put, but I could also just draw in new notes by just double clicking somewhere. I'm just gonna make us crazy. Bongo jam e. That's the same sound. Do one whole bar. Okay. Okay, now I got a whole bar. I've got that track soloed. Let's hear it. All right. That is a crazy you bongo player. Loop it on that. Stretch it out. Okay. Someone wrongs my loop. Right. Check that out. Um, I've got this empty space here. Why don't have that empty space here? Because my loop is going for more than a bar. It's going a bar and two beats or something like that. Because remember, we made this clip by recording and it's kind of randomly hits start and stop record. So I got to fix that. Easiest way I can just drag this loop race in to make it exactly Ah, full bar. And now that fix the whole problem. So now I've got my bongo player rocking out right is gonna keep going. Awesome. So that's just using MIDI. That would be really tedious to do with all those audio samples, right? Much easier to do with the drum rack here. Um, let's see if we could do something little more interesting with this. Let's select this whole thing and let's do this halftime double time thing. So let's double time that out right now. I've got a pretty cool group. So what I did is I just told it to play half speed, which, with MIT media is even easier than it is with audio. Things gonna happen if we pull in our drum groove up here? It's kind of fun to do it. So basically what we've done here is we created our own drum rack by just dragging sounds onto an empty drum rack, and if we click on one, we can see the instrument inside, It's just a sampler are simpler and what's got Each of our sounds way could control more parameters of our sound. But in this case, we don't really need to. And then I just created a mini track. Are Amidi clip playing a groove to the whole thing? I could make this twice as long way made a little group out of it, right? Way Could still double time. The person Oh, my quarter timed it less interesting there. Ah, crazy, frantic. Halftime. Right. Nice. Okay. So making your own loose from scratch using the drum, Rick. 22. Recording Drum Racks: The last thing I want to do here with drum racks is talk about recording them in by, like, playing yourself. Um, so I'm gonna delete this group I made, and I'm gonna go over to my keyboard and just play it in. So let me get to my drum racks. I'm gonna go down here to this tab down here that shows me my actual drum rack. And remember, I can also get to that tab by going shift tab on the keyboard. We'll alternate between those two windows, the clip view in the instrument view. So here I am. Now, I gotta find these notes on my keyboard. So if you look right here, I'm gonna play middle C on my keyboard, and it's showing up there, so I need to play higher. Keep going. There it is. There's my first note. And now I played Chromatic Lee those notes. So I located the notes using this. I could also look at my pitches and figure out what's what, but that gets me where I want. So now let's set up a Metrodome, and I'm just gonna record into this clip. So I'm gonna hit record and and it's gonna play a couple notes and then I'll Kwan ties it after. So not brilliant. I mostly stayed with the beat, but remember, we can always Kwan ties. So here's my segment. So let's get rid of this random floating note and then command a and then command you for Kwan ties. And now let's let's pull it all the way over to the beginning. And then we'll just bad this last bar is going to command D to duplicate that. And then I'm gonna nudge it over to be right on the beat just to finish out the clip. Let's see what we've got now. Oops. Back to the beginning. Turn off the Metrodome. Okay, Not bad. Try the double time groups. Okay, so that's cool. But those little, like, kind of top Elias Griff's I did hear didn't quite work, so I'm gonna undo that now. We're back at our original tempo, but check this out. What I could do is select, you know, maybe this much. Well, let's do it by bar. So let's do this much. Just this first bar that I could say double that on Lee. Right? Then since I've still got this highlighted command d duplicate that, and that's nudge it over, said. This is right on the beat, right? So I can I don't have to duplicate or double time or halftime everything. I can do it just by ah segment and then, you know, duplicated to fill out the space. Um, let's try this. Also duplicate that. That looks good. I got a little crazy Got away from me there. Let's undo those two things, All right, So it's it's getting cool so I can select stuff and then do the halftime or double time stuff, depending on what's highlighted, which is a handy trick to know. Okay, so we made a drum rack. We recorded some stuff in, so ah, I think we're getting pretty comfortable with Drum Rex. There's still a lot to do with drum racks. You can have a lot of fun. The Keeter withdraw Maxis. Just remember, you can pretty much drag anything onto a drum rack so you can put a synthesizer. Ah, loop individual hit a sample. Anything you want can go on one of these pads, so racks are going to become a very important part of your life and not all that much longer if you stick with this class. So, um, just wait till you see effects racks. It's gonna blow your mind like you won't even believe what's happening. Um, I can't wait to show you that stuff, but, ah, I gotta stick to my plan. I got to stay in order. So let's move on. And the next big chunk of stuff we're gonna start talking about synthesizers laying some sense down. Um, not necessarily programming synthesizers in this section, but, um, recording working with synthesizers and editing the midi to get the best ah, stuff down. So maybe I'll leave this track going, and we can see if we could make something cool by adding some SIM plans to it, so we'll see over the next chunk. 23. Synths Intro: All right. So in this next section we're gonna talk about, since now, we're not going to get into how to program each one of these. That is the subject of the next class. Ah, in my big Siris of able 10 classes. So I hope you can check us out for that. We're gonna walk through all kinds of sound design techniques how to use all of or most of probably all of the able tune instruments, samplers and, um, synthesizers, programming them, you know, working with filters and everything s o that will be very thorough and in depth in this section. I just want to talk about to kind of key editing things that you might want to consider trying and doing. So I want to put, um, a synthesizer line in here and then work on layering sounds and talk about how we can do that. Using multiple clips for this, uh, multiple synthesizers on the same clip. Um, Then I also want to talk about something I mentioned earlier in the, um in this class, which is freezing and flattening. I talked about in one of the first videos in this class. I talked about the When you move a session between two computers or you email a session, you might need to freeze and flatten attract so that the other person can have access to it . So ah, I'm going to do that. And then I'll upload this session for you as well. So let's take this groove that we started. Ah, and let's, um, at a synthesizer line to it so we'll do that right on the inside. 24. Layering Synths: All right. So let's look at creating a synthesizer just for starters. So I'm gonna go to my instruments here. These are all the instruments that come with a built in sweet. Now, if you don't have all of these instruments, you probably have a smaller version of able to enable to intro or something like that. Um, to really take advantage of able to new media Bolton Sweet. That's where all the cool instruments are. But there's still a lot you can do with the intro. Um, I'm gonna assume you have sweet ah, and go through these when I go through all of them in the next class. But for now, um, I'm just gonna throw a couple things in here. Let's do an operator. So, um, I'm gonna make an operator track. I made a new MIDI track by double clicking on that. So I'm gonna scroll that up here so that it's up near my drums so I can see it a little bit easier that I'm gonna unfold this so I can see inside that operator track, which there's nothing there yet, but that's OK, so if I play my keyboard and that's what operators sounds like just out of the box. Maybe I'll load in a preset here. Um, let's do a a pad, the snow pad. That's kind of fun. Someone's gonna load that preset end is gonna drag it right onto operator. It's kind of fun, so let's just use it. Okay, So, uh, up here, I can't quite record yet because I'm not ready. Ah, I'm gonna zoom out a little bit. Then I'm gonna pull this loop out to be a bit longer. The reason is this is a slow sounding pad, and if I just hold a cord down, it's not even going to really get to its full volume by the time this loop happens, and then it's gonna look back. So I want a loop these out a little bit longer. Now, I just tried to pull this one out, and it didn't work, right? So we know the reason for that. The reason is loop isn't selected here, so I select that loop, and now I can pull this out. Okay, let's go back to my operator track. I'm gonna turn off this loop the main session loop here, arrangement loop. And now I'm just gonna record something. Now, neither of these two tracks have any pitches in them. They're all just drums, so Ah, I can play whatever I want. So I'm just gonna play something in C major here. I'm just gonna hold down like one big chord and ah, see what it sounds like? Okay, that was cool. I kind of wish that cord was gonna change and it didn't. So I'm going to set it up so that it can. So first thing to do is clip this first stuff off and I'm gonna make sure that my midi notes start right on beat to hear or bar to So that, um I don't miss the entrance of those notes because that can cause problems. So now I'm going to drag that over so that this starts right on it Now, right here is where I want to change chords. So I'm gonna clip the ends of these so that they end right on the end of bar four here, and then I'll clip my midi window. Also don't necessarily need to what I'm gonna So now I need to make a second court. I was gonna do that by duplicating this clip. So, command G. Now let's change this court around. So let's move some notes. Um, I played a C major. So what would be a good chord to go to? Let's do something a little different. Um, go to, like, a B flat major. That'll be kind of weird. Um, did you do to do to do so b flat? I need a f. And I need a d. Okay, it'll be kind of fun, and let's even invert it. I'm gonna put this d on the top. Here we go. Just for a little bit of a change. So don't worry about the notes I picked. Um, let's do another court here, so I'm gonna duplicate that clip and do one more cord. Let's dio let's do a G chord. So I've got a d. I need a G. And I need ah, deals go there and that looks OK. All right. Ah, let's hear this whole thing now. I've got a single since playing three chords and let's even set up a loop so I can hear this three cord loop happening. Gotta turn loop on now, let's hear Pretty cool. Very dreamy sounding. So now I want to talk about layering. Um, since so here's I'm going to do I can make another since track, Let's find another sense that I like here. This'll work. So let's throw that onto Wolf. We gotta make another midi track, so just maybe one all the way. Oops. Just replaced my mini track. So be careful. You don't do what I just did, which is I have this selected on. I double clicked on this preset, and it replaced what I had. Ah, in here for my instrument with it. So I'm gonna make a new mini track. It's gonna go command shift t, and then I'm gonna drop this in here. And now that I have it selected, I could just double click. But that's now I'm gonna put this same material down in that, and I'm just gonna double it. So the first thing we're gonna do is I've got these three clips. I'm going to consolidate them, which we saw on an audio track. But I'm gonna do it on a MIDI track here. Command J that made it one big clip so handy I'm gonna option click and drag down there. So now I've got two synthesizers playing the same line. It'll out a bit more texture to that sound. Um, and it'll sound. It'll be a different kind of sound. Okay, so I made it a much denser kind of sound by doubling that Let's do it again. And what, this time? Maybe something a little different. So here's a new MIDI track. Now let's put something on here with a little bit more of an attack. So by attack, I mean it, it hits right on. Whereas both of these have a slow attack, right? They they build in this one, It eyes very. It's much more sudden. So you put the same thing on here. Same clip again. But this time I'm gonna put in our Pesci ater on it. Now what an arpeggio Gator does is it's gonna play each note here one at a time and then cycled through it. So for that, I would go to Midi effects on our Pesci ator and just throwing on there. So here are my AARP educators settings. I'm gonna go to style random because I am a random kind of guy and the rate is the speed that it goes. So it's set to be an eighth note. Now I'm gonna turn it to be 1/16 note. So now it's gonna play these notes individually as 16th notes. So it's gonna go do. 2222222 Dude at about the same rate as and my Congo is going up here, so let's hear that. I'm gonna turn this down. Just Dutch. - Okay , so pretty good. A very dense sound, a lot of motion in it coming out of that AARP educator now, So it's thick, but it's still got some rhythm to it on the inside. So I'm pretty happy with that. Cynics. So now that I've got this, I want to be able to share this with you. Um, so I want to look at freezing and flattening. Now, this is actually OK, because I used presets here, so you probably have this, so I'm going to save this session. I'm gonna save this as since one and I'll put that here. I'm gonna be sure I do a collect all and save. And now, in the next video, I'm gonna go over freeze and flattening, and then I'll save it again for you, so I'll upload it twice for you. 25. Freezing And Flattening: Okay, so now that we've got this, let's freeze all of these tracks. And basically, what that means is we're gonna write them is audio. So, um, I'm gonna go to one of as many tracks going to control Click on it. I'm gonna say, Freeze track. Now what a freezing the track does that gets us halfway there. What it does is it temporarily writes an audio file. It's still gonna look like a MIDI file. But all this stuff becomes great out right? I can't change it because it's basically an audio file. It's playing like an audio file, but it still looks like a MIDI file, and I can undo it. That's the thing I can I can control. Click on this again and I can say unfreeze track, right. That's gonna take me right back to where I waas. So let's say freeze track again. Now you might want to freeze something but not flatten it. If you're working on a really big session and you just need Teoh, unload some of your CPU use like your computers just bogging down, freeze a bunch of tracks. Ah, and that will basically disable the synthesizers and audio effects that you have on it that can speed up your computer a little bit if you're working on a really big session. Um, so we're halfway there because we're frozen now on this track, So I'm gonna go to that same process again. Control. Click. Now I have the option to flatten flattened means get rid of everything and write this as an audio file. No going back. There we go. I think I could maybe undo that Command Z. Yeah, I can undo it, but I can't unflattering it. Um, So once I save this file and I closed and I go back, I can't undo that like it's frozen. It's done. It's flattened. I should say so now this is an audio file, right? It should all sound the same. When I look at my effects window, there's nothing here. My instrument window. There's nothing here. And in fact, this is just a straight up audio track. Now, there's not gonna be any, um Ah, instruments on it. Let's do the same thing with this one frieze track again. Flatten track. There it is on my last one freeze track flatten track and you'll notice that it even put these tales here. That's because my clip was long. It was still sound happening at the end here because that synth has a long decay on it. So put those there, so now everything will sound the same. But we've just got pure audio tracks. - Let's move on and let's talk about working with some effects. 26. Audio Effects Intro: all right. In this next section, we're gonna talk about audio effects. Um, now, just like the previous section, we're not going to go in depth on every audio effect that a Bolton has. I'm gonna focus on, you know, editing and producing right now. So we're gonna look at using audio effects and automating some of our parameters and audio effects. Um, so not super in depth, but ways of, ah, getting you going with some production stuff. Ah, while we work with a few of the audio effects and explore them, So Ah, here we go. Let's talk about audio effects. 27. Basic Audio Effects: So the first thing I want to do with audio effects to see what I can do to this track to kind of sweeten it up. Um, so I'm here in audio effects, and these are the all my audio effects that come with a built in. Now, remember, audio effects is different than plug ins. Plug ins are all kinds of audio effects that, um, function kind of the same as audio effects. The way to separate them is these audio effects in this list are things that come with a Bolton and is made by a bilton. Right. These are the able to an audio effects plug ins are effects and instruments that are everything else, everything not made by able to. So I have a bunch of this isotope stuff here. Um, that's not made by able 10 That's made by isotope, obviously. So I'm not gonna look at plug ins just yet. I'm gonna look at audio effects cause there's a lot of actually really great stuff here, So let's look at a couple of things. Let's maybe look at, um, this pad here. So what's solo it? Let's see what I could do to spruce that up. I could do this auto filter. That would be cool. So I'm gonna dragon audio auto filter on their Let's drag a couple things on there. Let's do, um, and e q three. And let's do one more thing. Let's do a ping Pong DeLay isn't gonna do me a lot of good here, nor is a reverb. Um, let's just stick to those to those that those will be too good things I can work with. Um, actually, let's put a compressor on there too. Ah, we're gonna need a compressor for the next thing I'm going to talk about in the next section. So we might as well throw one on there now so we can use it later. Okay, Now, Ah, One thing I want to also point out is that this is a MIDI track. We can put audio effects on a MIDI track. Um, because remember, our signal flow here are MIDI Track is going, Is is going out here, and as soon as it gets here, it's an audio track. It's well, it's an audio signal. I should say so. Audio signals happening here. We can put any audio effects we want as long as it comes. After the instrument, the instrument spits out audio, right? It comes in as many, but it outputs audio, so audio effects can go on a muddy track. They just have to go after the instrument. And then it's audio, right? So don't forget that. Okay, so we got three effects here. I can put them all in a row. Um, let's look at this auto filter just for something fun. Weaken Do. So I'm gonna solo it. I'm gonna turn off these two effects with this little power button right here so that those don't get in our way from the minute and let's hear this. Eso this'll filter. This is just a filter like an e que is a filter which will look at in a minute, but this one's gonna move on on its own. So what we have in a grid like this is we have the volume going this way, and our frequency is going this way. So these are low frequencies and these air high frequencies. So if I put it right in the middle, that means that I'm cutting out the volume of the high frequencies. Right? This bar is going down when the spars right in the middle, that's unaffected. So we're boosting the frequencies right here and then pulling them out. Okay, we'll talk more about how e cues work when we get into the big effects section. But I can change the shape of this envelope by doing that. And now the low stuff I'm chopping out and the high stuff I'm chopping out, right? So now let's give it a little bit of motion because that's just gonna change the sound of it, right? I can get it to start moving on its own, turning up. You hear that? Now it's moving on its own. If I turn this at, this little button here gives me a note. It's moving by a division of the beat. In this case of 16th which is a little crazy, it's not slow it down. There's a whole note or half notes. Way had a beat in there and nickeled or sense. Now it's smooth course of a bar. It's going it's opening include Wait, so that's a cool. In fact, that's an auto filter to filter that moves on its own. Let's turn that off for a minute and turn on this e Q three. This CQ three is really simply Q. And we're gonna talk a lot more about accused as they get closer. But, ah, what this does is it's basically separating our frequencies into a low, mid and high and lets us turn them on or off and adjust. What is the low? Been high the volume of each. So let's say, let's turn off low frequencies off, just high frequencies so low that we don't have a lot of high frequencies here, right? So that's not terribly interesting. Let's add in our mid frequencies and get rid of our high frequencies. IHS here just are low frequencies, not a lot. They're either very mid frequency centric thing. So we can adjust the mid frequencies right manually by turning that just the high frequencies. Yeah, there is some stuff there, so it can be actually pretty interesting that CQ three. It's really simple. So just a couple of facts thrown on that track. Um, I like this auto filter something. Leave that on. I'm gonna maybe from that off here in context, make less extreme with That's good. Let's leave it there, and I don't like the CQ three anymore. Something to get rid of it. So I click on the top bar and I hit the delete key and it's gone now. This compressor is a whole other story, and I'm going to get into the compressor in a minute. Um, first, I want to talk about automating some of our filters are sorry, some of our effects, which we can do quite easily, actually using a lot of the things I already taught you in this lesson. So are in this class. So let's jump to a new video, will automate some effects and then the next section we're going talk about a compressor and and, ah, trick, we can do with the compressor so onto automating ah effects. 28. Automatiting Effects: Okay, So what if we wanted this amount to change over time? We want to automate it. Now, remember, the secret automating enable Tin is we gotta use this line and we got a draw on this line, but we got to make sure we're drawing on the right parameter. Right. So we got to find in this list so we can say, you know, here are available things devices we can automate. So we say filter. Now I got to find that amount from this list of a ton of stuff, right? It's probably LFO amount. Yeah, it's probably that, but there's an easier way we could do it. Let's just click into something else. Okay? So now we're looking at the volume. If I want to quickly find a parameter to automate, all I got to do is click on it. So I go down here and I say, That's what I want to automate. Click Now it automatically found it for me. That's what it's showing. So let's say over time I'm gonna have this turn up the amount. Actually, let's have it go up and then back down. So now we're going to see this so Now we just got this red dot right? Meaning there's automated parameter here. So let's hear adjusting. Go up. So I like it. It's a little extreme. Son was gonna nudge it a little bit. So now we've got automation there. Now we can automate any parameter almost, you know. So let's say the rate, Maybe I want to change the speed I click that I go over here. We're looking at rate and I draw in my automation that way. So now I can say it's ramping up down this way. So let's make it go crazy fast by doing that, that's kind of cool. Sounds like a spaceship taking off. But let's get rid of that. So I click it again. That parameter is now gone. Okay, so automating effects works the same as everything else. I could click here and now we're looking at volume, and I could automate that. I can click down here and now we're looking at our LFO amount on the auto filter, and now we're automating that. So just remember, click on the thing you want to automate. That's what the line is showing. That's what your automating 29. Advanced Production Technques Intro: in this last big chunk of stuff for this class. I just want to talk about some general kind of advanced production techniques. Um, particular busing, side chaining and re sampling. Those are the main three things I want to get through in this section just so that should you need to do him, you know how to find them and you understand what they are. So I'm gonna introduce those concepts. If you already know what they are, then you'll know how to do them in a Bolton. If you don't know what they are, then ah, we will talk about I'll explain what they're doing as well in this section. So these are, um, techniques for working with the sound a little bit different, you know, sending the sound different places. Ah, using one track to affect the other things like that. Um, so let's dive in and we'll talk about those three things, and then we'll be done. We're almost done with this class. Um, and I feel pretty confident that you're getting everything you need to Ah, really be making some cool tracks and able to. So stick with me for this last chunk. And then, um, you will be excited that you've finished the class 30. Side Chaining: all right, so let's start with side chaining now. What side chaining is? It's basically using the volume of a track to control the volume of another track, usually inversely. So what that means is, when one track has allowed the other one quiets down. It's basically like one track has the control of the volume fader of the other track, and it stays out of the way of each other. This is really common technique in something like like, um, think about maybe dance music Where you here, This kick thumping all the time. Like on the off beats you hear a synth going, want, want, want what's really happening under the scene? Often not always, but often is the Synthes actually is going, uh, as a solid court. Ah, but the kick is side chained to it. So every time the kick hits, the synth gets quiet, so that makes the sense sound like it's going, want, want, want because the kick is hitting and it ducks underneath it. Ducking is another as a similar term for this kind of stuff. So let's do it with this Ah, pad that we have here. So first thing I need is something the side chain it to. I could side chain it to this, but I'd rather have that really straight for four kick sound. So I'm gonna make another track and make another audio track. And let's find just a simple kicks. I'm gonna go to my samples. There is a kick. I was gonna drag that right in there, and I'm gonna put this just four on the floor. Okay, that's solo. That to make sure it's lined up right. Great. Now I am going Teoh, consolidate that with Command J to make that one track gonna set it toe loop. And then I'm just gonna drag that thing all the way out for my whole little groove here. Okay, there we go. So now you might be thinking, What if I don't want to hear this big, annoying kick? That's the cool part about side channel. You don't actually have to listen to it. This is what I was talking about early on. When, um I think in the first track we looked at in this class, I had a track that was had a kick going, but it was muted, but it was side chain. It was controlling the rhythm of another track. So here it is. Let's hear it in contacts. This ceiling like it. So it's there. Let's not worry about it for the moment. Now here is my pat. No, I want this to duck that kick drum. I wanted to stay out of the way of that kick drum, so I'm gonna side chain not to do side chaining. I need a compressor. It's the best way to do it. So first thing I do is click this little arrow here so I can see more parameters. And there's my side chain button, so I'm gonna hit side chain. Everything's great out here because it's off. Let's turn it on. So now side chain input from So I need to find the name of this track. So let's recall this. Let's rename this Command are Let's call it as C for side chain kick. I don't have to do that, but it's handy when I go down here and say input from and I can see SC kick. So now it's gonna listen to with that kick drum file. So there's that kid coming in right there right now. G. R. Is gain reduction. If I pull this down every time that kick hits is reducing the volume of way. Let's look at it in a different view here. I have this really extreme extreme waken really here, right? So let's actually listen to just kick right now. This is just the kick. In the past, Every time that kick hits, the pad stays underneath it because we're side chained to it. That's how you set up a side chain. It's really quite simple. Unable to you just need a compressor. Turn on side chaining here. Select what? Track your side. Chaining too on you can boost the gain or pull it back if you want. We could really crank that game so it pulls it way out on then, um, you're all side chain Now check this out. I commute this track and it still works, right? So if I don't want that kick going, I just meet that track on. Then I can. Newton on drums still got that side chain going. Even though this track is muted, it's still going through cool, so that is side chaining. It's a cool technique. It's really popular and electronic music, so check it out. Um, remember, all you need is a compressor to get started, and then you're often running. You just got to adjust the settings until you get it just right. So that is why I've had a compressor sitting around on this track for the last couple videos was waiting to do that. Um, so I'll leave it like that, and then I'm gonna share this session with you guys also at the end of this So you can have that compressor all set up in there so you can fiddle with it if you like. 31. Bussing: so sometimes we might want a bus tracks over to another track on what that means is take the sound and send it not to the output, but somewhere else or both to the output and some worlds. So let's take this one. Let's take these two, for example. These are both synth tracks. Let's listen to just those two. Let's hear what's what's what we've got here. Okay, so that's what's on these two tracks. Now, what if I wanted to apply something like a delay and I wanted to put it on both these two tracks, but I wanted to make sure I use the same delay for both of them with the exact same settings. And I didn't want to obscure the original. I just wanted to have this delay as a separate track, right. This is a very common thing to do. Ah, don't put a delay directly on the track, but put the delay on a separate track and then route the audio into that track. Right? So what I'm gonna do here is create a new return track, so I'm gonna go create insert return track. Now you'll notice what happened is I got 1/3 1 of these boxes that just popped up. Because these are my sentence. Each track has a son and Aiken send it to a different, um, return track. And these are my return tracks. This reverb and delay were the ones that are already here. Those air built into the default able to file. This is the one I just made. So let's throw my delay onto that track. Now this has a ping pong delay on it. Let's crank that all the way up so that we have all on Lee the wet sound not to drive the dry as the unaffected, the wet is the affected. So now here, this is my third send gonna crank that up. Maybe not all the way. And now this. This is basically a volume knob of how much volume is getting sent to the Ping Pong delay track and same thing with this one. So it's still going to the master output because this is up. But it's also going to the send right. So now my volume here on this end basically becomes the amount of the effect. So let's go back to the beginning here waken see signals coming in here. So now we've got a lot of delay. It's less obvious on this track because there's so much happening. It's not really rhythmic, precise, but let's make it really obvious by sending some of the drums too. Right now, that DeLay is super obvious because the number in it I think this sends has a reverb on it already. So I could add some reverb. This one again, reverb is gonna be hard here with, so you make a new son track. You can put whatever affects you want on it. You can put all kinds of stuff on there. Let's do this and make it kind of a little more scream effect there. It's kind of cool on this thing. River green delay on. So those air sends and receives. Or they could be really useful. That's how you make them. You got to make a receive or a return track and then send in return. Sorry. Not said it received. You got to make a return track, and then you'll get another send up here for every return track you have down here. So there's our return tracks down there, girl. Okay, I got one more thing I want to show you in this section on that is re sampling super valuable tool that we could have used earlier when I showed you something. We're gonna use it now. 32. Resampling: so re sampling meat basically means we're gonna record something and then reuse it. Now, if you remember a couple of videos back, what I did when I was making a drum loop was I exported the whole when I had chopped it up into my own things than I had exported it so that it was, ah, its own file. And then I imported it again as its own thing. That's one way to do it. That's essentially, ah, long winded way to re sample something because I converted it all to an audio file by exporting it and then re importing it. There's in a more efficient way to do it. Let's see if I can find a way to do it. What if I wanted to combine these two things? Ah, into a new track. So what I can do is I can go down to an audio track, and then it might input settings. I can set it to re sampling. So this is basically gonna listen to my master track and route everything into this track, and then I can record it right? So I just arm this one to record and then I start recording. And if I only want to do these two tracks, I'm gonna turn them on and everything else off Except for that one. These don't have any sound on them, so it won't matter. So now I go down here and I start recording and everything is going into this new track. I only have those two tracks playing. But now I'm gonna have a single audio track with both the drum loop and the kick in it. Great. So there it is, Right. So I can solo that, and it'll sound the same. That's now these two tracks together because I re sampled them into the session. That could be really handy when you've got a lot of stuff going. What if Let's just do it again? Where I said I want to do something where I take all three of these sense and do something crazy to him. And ah, this this is well, the the ah bongos as well. Sure. So I turned all of those on. I've got this track set to re sample. I record it. So it looped back around and I recorded some there, too. So let's pull this. Actually, let's not do that now. You know, I could do something like I could, like, chop this up and do some cool effects to it and layer it in. And it might have kind of a cool sound. In this case, it's not going to be amazing, but, you know, I can do some kind of glitch kind of stuff that way. It's a fun way to do it. So that is re sampling. It's really easy to Dio um, it's actually Oops. It's actually quite difficult to do in a lot of Dawes, and it used to be difficult to dio with able to know where you had to route everything into a specific track and then record it. But now we can just turn on this re sampling mode and then we're good to go. Right? So that's what re sampling is. It's in the input section of our hoops of our track. So you set up a new track set up to re sample, and then you're good to go. Okay, So those are the advanced techniques that I wanted to show you for this section. Um, I'm gonna put in the next second in the next little ah lesson. I'm gonna put this file for you this session for you, which will have a lot of different stuff in it. Um, And then I got one more video just to ah, wrap everything up and then we're out of here. 33. WrapUp: Okay, everyone, that is the end of often able to live. Part three. Editing of producing. You got a lot out of it. I think we covered a ton of stuff in this class. Hopefully it wasn't too much. You're you're still with me on your making some stuff and having fun. I really hope that you can download all these tracks that I've made in this class on Use them, you know, just poke around with, um, have fun, you know, feel my samples. I don't care. It's all good. I will tell you that first track that I uploaded that big session that is actually attract That's slightly different than that. That's kind of the early version, but that track is my latest album, which is called an Escort CIA. You can find on my band. Camp age is VanCamp, Jay, Anthony Allen or iTunes Spotify. Before, wherever you're looking, it's probably their Amazon. It's all over the place, so check that out if you like, But use that session. I mean, that's that's ah produced track that's out in the world. Stick around for my next class is I've got, like, three, I think more able to classes coming up, We're gonna start getting kind of advanced in doing some heavy duty synthesizer work soon. So heavy duty audio work talking more about racks a lot more about rack that we're gonna end with this crazy Max for live class. And I'm so excited report that I can't even contain because I love Macs for live. You will too. But it will be dangerous to just jump straight into the maxi lifeplat. So I hope that you stick with these classes, keep on going, and then when you get to the maximum class, don't know what's going on, because it could be. It's pretty serious stuff pretty hard, but that's it for this class ways. Check out the other classes, stay tuned in the next little blurry will give you a code to help you get into those other classes for a little bit cheaper since you hung out with me for this class, and that's all I have to say, Thank you again for sticking around and we'll see you in the next one 34. SkillshareFinalLectureV2: Hey, everyone want to learn more about what I'm up to? You can sign up for my email list here, and if you do that, I'll let you know about when new courses are released and when I make additions or changes to courses you're already enrolled in. Also check out on this site. I post a lot of stuff there and I check into it every day. So please come hang out with me and one of those two places or both, and we'll see you there.