101 Creative Techniques In Ableton Live | The Procrastinators Bible

1. Introduction: Hi folks and welcome to 101 Creative Ways Enabling Live course. My name's Ross and I'll be your teacher for the course. So the whole purpose of the course is basically to get out that creative rock. How often do we sit down to write music? Hit the creative barrier, hit that wall. Then we come up with excuses. Wind up abandoning track. Something's not quite right for the idea, you abandon it. And then before you know we're starting again, bark the square one. You're in that vicious circle. That vicious loop. We all do it, and I still do it myself. But I've created this course just to help you break through that creative barrier. And just sparked the inspiration once again in your work foot and in your ideas. So the course isn't just about finishing trucks, it's not about how to make this sound, it's not about mixing techniques or mastering techniques. This is all about unlocking that creative side of your brain and coming up with unique original ideas. So the course is laid out in different sections, starting off the legs of base ideas, melody ideas, vocal ideas, thrones and pods. But we've got marks for live modulator ideas. This loads of different creative techniques for you when you hit that creative rack. When you hit that road block, that wall that you can't seem to progress an idea any further. Just jump on the course and go to the section where you think will fit the part of the trucket you're working on. And you can take all these little techniques and just fully enhance an idea and just progress it even further to get you closer to finishing your music and not abandoning any project. At the end of the course, you're going to have a solid understanding of all the different techniques that are displayed in the course. And you're going to be able to take each technique and implement them into your own work. Remember, just because each technique, for example, uses a base sound for that technique, it doesn't have to be a base sound. You can try any sounds that you like. Think creatively, Think outside the box and just think where you can take each technique. Like I said, these are all spark the inspiration, spark that creative side for your brain and get you well on your way. Finishing unique original trucks and finding your own sound. So if you have any questions at all, do not hesitate to shout. I'm always here, I'm always here to help, always reply to messages. I'm super keen to learn how you get on. If you get stuck on something, just throw a message into the comments and I'll do my best to help you out. There's loads to go through. What I would say is start at the top and just work your way through them all. Or if you're currently working on a truck and let's say you're stuck on a vocal idea or you're looking for something creative, just to spark out inspiration. Again, just scope the sex and you think that will help you over that creative block. Enjoy folks and a. 2. BASS IDEAS : Follow Action Bass: Folks, and welcome to the first one in the base techniques. This one's all about base follow auctions. I find this works best for loops. One shot feels a bit rigid, but you get much better results from it. I've just grabbed 123-45-6789 just nine base loops. They're all from the same sample park. They don't have to be from the same sample park. But you can just do you please, you can set them up with the same key or you can just leave them as it is. I find if you leave them as they are, you get more interesting results from it. Let's just go through the follow auctions first. If you click on the top one, hold down the shift key and click on the bottom that highlights them all. But you want to do is just click follow auction, that activates the follow auction. Click here, as you can see nowlinked here. Unlink them and look over half a bar. What you want to do is click gatto. Legotto means it will just pick up, this is playing for half a bar, but then once it plays this one again, once it loops around, it'll come to this part here and so on and so on. So you get different results every time. That's how you set it up. I like them all follow auction, unlinked half a bar, then hit Legotto. This part here, sorry. You've got hit other, just so it bounces between them all and doesn't just play one of the other just rather than legs through the mall, one set up, you get an audio truck. You do audio from the base loop, which is number five here. Then you arm the truck, you just hit play in one of the notes and just let it record out. Let's just play in a hit stop so it's ready and then just hit the record button. Folks have sped that on recorded out 33 bars there. One thing I forgot to mention before, if you get yourself like a percussion loop groove going, I think that helps when you're coming to loop through the base and you can just find, find a percussion loop if you like. Then just get the groove to fit. If we come in here, put it in a complex mode, for now maybe you will change it back. We'll see what happens. We switch the follow auction base of, then come in the clip here, switch on, just go through and loop the start rip loop over a bar. What I find works well is where you get like the jumps between the two different sounds. You get a good con thrust straight away. There's one there I like duplicate it out, crop it. Come on, Rename idea one I want, the next sounds pretty cool. That sounds pretty cool. I like that. Let's crop that. Let's remember that one. Let's highlight it all command you unless it is tidy up a bit. So as you can see, super quick to come up with base ideas. And I mean you can just gather loads of different base loops in here and save them in your library, and it gives you loads of different ideas to play with. You've not just used the loops throughout the park, you've created your own versions using various loops from the one park. 3. Chaos Bass: Focus this technique number two of the base ideas. This is all about chaos space. First thing I'm going to do is we're going to write click Insert Midi truck. Then I'm going to use this basic analog base, drop it in just on your Midi controller. What you're going to do is your piano, or what I'm using as a, you're basically just going to go mad on the keyboard like this and we're just going to record it in. And what's going to happen is just going to record all the media information in a clip. So let's do that now. So we just hit record and just jam it in. Okay, so you commit the clip. We've got all this here, all this information that for a second, basically it's an eighth notes at a minute, right click. Put it into 16th notes. If you highlight everything and hit command, you'll just locks it into the note. That way there's not any offset notes. They're all in the 16th locked into the 16th grid. If you listen to it, if we loop over half a bar, we'll just listen. We'll just sweep through until we find out pattern that we like. All right, so what you do here here, a partn that you like, just start muting out notes. Just highlight it. Zero. Not just mute out any notes Quick like that, remember that? So we put it in, putting the envelope and I'm going to tighten it up a bit. Let's got the arm envelope. Let's try bumping it up an octave much better. Now come in the clip and right click and crop it. And we'll just delete these notes that we're not using that. Let's pull that one out. Just duplicate. Duplicate again. Let's duplicate one more time. Let's insert 1.1 here. That means it's going to lock it in. If we push it along, we'll leave these notes here. Come on, see drops in at the end here, come on. That's it, I take them off. The tidies it up, start messing around in the roads. It doesn't have to stop there. What you can do there is open this one up and just hit you. And we'll keep out as variation one, random variation two, you get the idea and you just do loads of different variations of the sound of the pattern. You get off some really nice bass sounds. But just using this analogue preset, basic analogue base, it's a really nice sound. You have it folks, That's Chaos Space. Have fun with it, and I'll see in the next. 4. Bass Edits: Back folks, this is technique number three. This is all about editing base base loops from Sp Park. For this to work just grab yourself two or three baselines. I've got these three base lines from the same park. This one's name Meyer, pitch up five semitones, so it's martism of the D. We're just going to edit the base lines so they all fix. If you listen to it now, it doesn't sound great together so they're all muffled. So what we're going to do is we're going to split them up and just start using bits of the audio and placing it into the grid. I'm going to go through each sound. If you click on it command that splits the clip, I'm going to do that for every hit. I'll just speed this on so you get the idea command just to split every hit and then we'll take it from there. Split folks are all splitting different clips. I forgot to mention before I told you to split them over the 2 bars, I've looked over 2 bars, I'll just split up the 2 bars and then I'll delete the rest of those that we don't need. We've now got a two bar loop at the sounds, then you just delete parts that you don't want without audio. There we go. Then what we do then is just drag everything, highlight everything, and drag it onto the second bar. And delete that on both the same, this one, just drag it all across. It's easier to work with. I'll just start dragging notes across. First of all though, you would write clicks on 16th notes, Zoom's 16. If it's thinner lines here, just click and hit the 16th note. Let's start coming up with a pattern I was just run. That's delete it then if you highlight that whole first bar, a command J, then if you had the loop function here at loop just lot macros. So you see it's super easy to combine loops and label on live in arrangement view just by clipping them, just by cutting out the notes and then just other in your own your own hits and just combining all the loops together to create your own your own baseline. 5. Bass FX: Welcome back. This is base effects technique. In this T, we're just going to show you how add some movement sounds, Base sounds because sometimes you'll, you'll create like a groove going, need a bit of movement in there just to add something else, just to get the creative head going again, the first thing you're going to do is just throw it out. Over 4 bars, we just highlight these all just gives us a room to play with. What I'd like to do is I'll come in like a sound start with this one obvious want to get would be the delay. Start delaying get it, get the frequencies up high so we're not cuts any of the low end frequencies. What I'd like to do is I'll sends our audio truck. If you do audio from eight the truck then what you're going to do is take the baseline and you're going to put the delay at 100% wet. And we're just going to record it barking the baseline. Let's delete the delay. We've now got this piece of audio we can work with if we'll listen to it now. We've got more control over the audio here. So we get a let's go over drive, Drop it on, let's take the lows out. It's awesome. Rear bonnet must get a grain delay. It pits up the 12 set frequency frequency. Batting down here, say over, drive over here by the pitch minus 57c to 12 spray feedback. The grade delay offer doesn't work. You get the idea just accorded to audio. And then you have more control over the effect taken from the actual baseline itself. So I think it's a really cool technique to know that it's really handy for her just having more control over your audio files. Let's try doing like a blast of effects in this last hit here. Boot it up, coming in the it's got reverb over drive, it's got Qt and the end of it, so we're not getting any low end information. 150. So if we take the overdrive, the overdrive was sitting up here in the sense it wasn't catching any of the signal. But if you take it down into the lows, it catches it over here. I think it would be nice. And that would be a long delay After that hit, Let's get a delay on there. Again, got a dub delay type effect, a results on drop on here. The delay itself is basically semicircle precept of the beat repeat. It's got a delay filters in a barn pass switch off our gates compress side chain from the kick. It's got a limer at the end, 100% wet in the feedback on the steps. And feed 82 here, how that sounds. Now when it blasts that hit the listen to how they affect us, take the filter. So again, it's get any Q. It's like a windy type, horror film type sound. Cool. So this last base, something like a chorus. Chorus base. It's automated. Dry, wet. Come on like the second one here. So there you go, get the idea. Just messing around with different effects can really enhance creativity. And just bring your baselines to life. We listen to it without the switch that off. This one effects of that off. See it now. So you go just experiment with everything in the library. There's no limits to what you can do here. You can just try anything whatsoever on the sounds. All thing to keep in mind is the frequency is below like 120, 130 hertz. You just have to be wary of what type of effect you're using and maybe like group things up. If you've got it in our send, make sure you're cutting off like 150 hertz just to keep it clean in the low end. Hope that makes sense and I'll see the next lesson. 6. Random One Shot Flutter Bass: I focus. This is technique number five and this is the random one shot flatter base. I've called it flatter base because I use the midi effect here. It's called the note echo. I'll just give you a brief demonstration of how the ne echo works. It's just a delay unit. A delay times. Basically it works through the middy. If you hit play on this, I've got one note here, just played at the start. Come in and just watch what happens when I hit play. It's playing twice because I've got to set the delay time two. If I put the pitch one please, the next one put up to please the next one up from there and so on three because it's on two to three, then up four. So you get the idea. I want to show you this one. I've picked all these sounds from a sample park. Neither from the same sample park. I think you could have as much on here as you like, depending on how long you wanted to go, But I think it would get a bit too much if you let it go on for too long. So I've got ten hits here. I think it just plays eight of the hits. Now you can control the feedback. So watch what happens. I've got to set the two. If I put the pitch up, the one, that means it'll play the one. And keep going through by using the feedback. So if I use the feedback, just listen to how that plays the sounds. As you can see the feedback, it controls the volume of the rest of them. If we pull it down, then we go up. It sounds spot on. I like the sound how all the sounds compliment each other, like I said, from the same Sir Park. So the beauty of this is when you hit play, just let it play through. Then you have control over all the hits here. So you could go in and change the hits or add some effects to certain hits. So let's throw something like that. This one here is like a here. Let's get the Oscar's bit drive. If I come to get an audio effect now the duck open, close. If you press this button here, opens up the chain. You've got this option here. If you hit R, you can drop audio effects into the drum rock. So let's just get a reverb in there. Click on the reverb, make sure it's 100% we. Now if we come into the actual rock itself, by hitting this button here, we've got the send here. So we can send the reverb to any of these hits that we just put the sarturation on. Let's bump up the reverb. You can come out to the sounds as well. You can also focus, get an over drive before the rever would like to hear that sounds. Bring it right up. Now if we go to the sounds themselves. So we can, I mean, we could tidy these up, we could tighten them up, we can make them longer. Of course, you can take other effects into here. So we can get like the Mp, throw up the amping P in the up 100% give it going to boost. And we open it up then you could change the number here. Let's change the pitch to two. Definitely the one that rises up pitch. Pitch plus one works at best is because through pick out sounds that are really compliment each other. Well, they can get some really interesting, interesting partnswo. Then you can, you can record the audio and then you'd have more control over the actual hits themselves. And you can maybe place them off grid, et cetera. Just to get a more groover swing to it, like a groove file. From the groove file to the Sound just to other back groove. Okay folks, hope up makes sense and enjoy it and have fun. 7. Duplicate Samplers: Focus. This is technique number six, and this is called duplicate samplers. Basically what it is is I took one shot, it's just a Basic, and D, I duplicated it out twice. I've just turned variations on the sound. Now I was messing around with this before it came out pretty well, so I didn't want to do it again from scratch. I'll just walk you through what I've done and then let you hear the final outcome. At the end, I just threw a basic pattern with the base. This one sounds like this. It's a basic part, nice little groovy base. But what I've done is I duplicate it out again to this one here basically at the same hit again, only this time I've used a pitch envelope and I've got the FM I put up to plus 12 messed around with the decay. In the release I put the spread up to 60% Then I added some FM to it, so 16 and St -15 I've got it in loop sync mode. Repeat every 16th, then I've got the release and the decay, which I've just tweaked the test. If I play it same hit as that, then I've got the filter as well. I've pulled the filter down to 538 Hertz. And then I've got the envelope open at 41. Here it open here, How? It doubles up then pull it back, 538, then everything else is left the same. I put a delay in the end. Just set one then I just put it on the pink pole mode and just played around the filter. I found the sound that fitted. I've got the feedback right down to zero and the dry wet at 50% In the third one, all I did here was the sound. I switched the pitch envelope off the oscillator, off the filter filter the same, Everything is the same. The only thing I've done in this one was if I went the sample, I put it in reverse mode. Basically it's just sweeping in. You go three versions of the one Sound for the effects in this one I've got the overdrive again. In the reverb decays 128, 100% I've switched the low cut, high cuts off, et cetera, on the chorus spin as well. Then the overdrive, I'll just tweak the taste again if you switch it off and hit play with the effect here, that tone underneath it, it sounds really nice. One thing I probably forgot to do there is get the EQ. Drop it in there. We've got some info there. Let's scroll it off, 140 here. What sounds Doesn't make much of a change to the sounds, so that's perfect. Like I said, we went from this then without processing down with the three hits playing the ex, same pattern. Just shifted up, same pattern. It's just two hits there. We'll listen to it now. This sounds a lot more interesting as it was to that I've got a compressor on the edge of side cheating the kick. So you could see you could automate that over drive there. And even if we got it, we'll do two of them. We show up to the frequency, Other one there. Let's have them really slow. Say two then this one, all six offset. Let's have it up there. Cool, so fun. We had there a bit of tweaking yet to do there for getting the settings right, but it's knocking too low. Knocking too high, and just sitting right in the middle, but you get the idea. So there you go, some atmospheric base from just the one hit by duplicating it out in sample. 8. From Unlikely Sources: How you get on focus. This is technique number seven. This one's about creating baselines from unlikely sources. By that I mean just finding like field recordings, just unusual sounds. But you want to manipulate and just try and create a base, some base off it. Or it could be any sound for up matter. But obviously for this one we're focusing on base. We've got this sound here. A solo. It's basically a washing machine. I found it on Freesound.org If you haven't checked it out, go check out the website. There's tons of free, royalty free samples, you can pick up all sorts of sounds. I want to focus on this. I like this little part here, a little percussive hit. We can use that in some way in just this part here. From about here, we'll use that and we'll try and create something from it. I'm just going to loop that part. And then I'm going to, then we're just going to take the open up a mid, take into the mid truck. I think I'm going to create a sound out of this one and then a little sound off of. What I'll do is I'll right click group the drum rack, copy two across. The best way to start this is if you just create a clip and then a pattern. Let's, let's get an EQ. Let's see what we've got in the frequencies. Drop it in, we've got something here. It's a one. Let's come into the controls. One, we want it to be in D because we've got a rest of T. The sounds will have already are in D, so let's go down five semitones, it's in D one, then let's go and get an over drive. Drop it on if we drop it on after the simpler inside the rock. If you do it outside, it's going to affect all the sounds. But we're going to process this one separately. I can hear that starting to sound a bit more, a bit more like a bass sound. Let's find the sweet spot about there. Let's get a drum bus. Drum buses, pretty cool for when it comes to this type of processing on field recordings. If you've got a drum bus and just drop it in, the fact that we go to the three sets, I think there's a boom. See if we can boom in D. We're in D, Let's drop that went on, this is your boom here. But let's double it. Let's go to 72. 73, Boom down, let's roll off that high pigs. I was going in there, open shape a bit. Cool, so just tweaking about with the drum buss and the overdrive, you get the idea. It just adds a low end presence. Let's come into the sound here, Let's try something with this. Let's put it start marker across complex. Let's come in at the sound, let's get an overdrive on it, just to boost some of that frequencies, the effects overdrive. Drop it on after the spl simpler in the rock. What's, so that one. Let's bring it down 12. Let's got a reverb in there and if we go on after the over driving, the same command just to group it, open it up, duplicate it out. Delete this. Is your dry at the top. Keep your dry clean. And then your re 100% Let's get another over dry. Let's copy this one, drop it in there, gross. It's more like a deep percussive type effect but you get the idea just creating sounds from just from field recordings. Basically, we went from that, we've managed to recreate our own little baseline but delay in the end I think say you go at some atmospheric or some more atmospheric base just by you can use a field recording. 9. Deep Percussive Sub Layering: Focuses the technique number eight and this is all about de, percussive laying. Got this percussion loop, per do is to pitch it down, down two octaves. Mess around with the formats. Let's go with that. So what I find with these percussion loops when you want to pitch them down, et cetera, that you find that sometimes they lose a lot of power. They lose a lot of character tone. I mean, I like the groove of that. Before I want to do first I want to find, I want to find a loop inside the pattern first. Make a quick half a bar loop. Greatly support here. Start marker there, little part there. I think that would sound pretty cool reed up with another base so let's grumble that one. Let's crop it. Now if you drag it in to arrangement view, if we loop, if we insert T, let's get an operator, instruments operator, drop it on and draw half a bar. Command shift in creates a Midi clip and drag it out. We're in D minus. Let's go for D, which is here. All you're going to do is where the percussion hits it. Let's just, you'll see it when you hit a Midi note in comes up. And then just throw notes to line up with what we have in the percussion loop. Let's go for that. For this one, it's certainly swung off. We'll leave that one. Let's hear that Sounds Let's loop I like to do is just listen to it with the percussion and just shift the notes in the base. Let's pitch it down. Straight away we got, let's get the sound shaped shape or so that you go. Just by getting percussion loops, pitching them down if you leave it off. Then just marching up the middy to the partner in the percussion with one. That's okay. That's one note, slightly off, but you get the idea. Marching with busier percussion loops. If we've got more middy notes playing, but you get the idea, just an idea if you're just a quick one in case you had like a percussion loop and you're wondering where to go with it next, and find a groove to march your base. 10. Convert To MIDI: On focus. This is technique number nine. This is just a quick one. This is all about converting loops to Midi. We've got this percussion loop here. Deep percussion loop. What you do is right click convert, melodting new mid truck. I've got the operator here, let's drag it in here. Open it up. We've got 16th notes, everything pretty much a part of the pretty swag three here. We'll just lock them in command you at play. Nice little groovy by scorn, but he might not like the key change. So what you could do is you can just pump all the notes back up onto the key D, up down that, maybe copy it cross. A super quick way to get a baseline going just by converting the loops. Convert melody to new mid truck. Now another way you can do it is extract the grooves. Let's extract the groove. The groove comes up over here in the groove just across in look at these notes here. The ones that are on the upbeat command this command. You command you, That's okay. That's okay. You just adjust them slightly. Pretty swung. So let's hear what it sounds first though. We'll just bump it up the day and then we'll just draw the notes. That's the first one, had this one a super quick way. Just a quick on. Just a quick way to get grooves, go get baselines going. You might want to just cut that back. You take notes out just to edit it as you like, but you've got a solid groove foundation there for you with the velocity settings as well in place and the notes in place. And of course you can make Mel out of that as well. So many ways you can take just a quick one that's converting loops to di. 11. Device Randomizer Bass: Get on focus. This is technique number ten. This is the last one in the base ideas. In this one it's all about randomized bass using the device randomizer. I find this one again. It's just a super quick and easy way to come up with your own unique sounding baselines. Obviously for this one, you can pick the base sound that you like. We don't even have to have one. You can have two or three baselines, but we'll just do it for one for now so you get the idea. We're just going to get the anologe synth, one of the previous lessons which was analog basic analog base, we'll throw it on now before we use the randomized button here. And we pressed it to randomize the randomize, et cetera. But this time we're going to use the device randomizer. Device randomize a results. Drop it on. Also we're going to get the Razer for the Razer randomized notes that are going to get played and we'll record it to audio. Let's get Rosero. Let's set up a audio track to receive audio from 15. Let's also record the Midi as well. If we hold on the command key, click both tracks, receive Midi from analog base. Now what we're going to do is hit the map and then just click on the top of the device and you'll just see all the parameters go Daft. We're just going to record on both. That's plenty. Let's see what I can come up with for that. Let's switch all these off. Keep that one on. I'll come look loop half a bar, but let's come here. That one, you get it out one Cp, nice texture, we keep that. Let's duplicate it out, crop it, let's look it over a bar. Now pick that one and then duplicate it out, and then so on. You just get all these little base ideas that you can then build from going forward in your track. Always come into the mid, let's drag it across onto this basic Anologue. Let's see what we're getting a de, like, let's take the device when these are off, delete it. Let's play the di, turn that off. Even at that I like command loop. Let's come on, let's highlight them all. And bump them up a semitone, an octave so you get the idea again and again you would just find the sound you like. Duplicate it out, right click it and you've got that part on there to play with as it comes in progressing your truck. So I hope that makes sense folks. That's device random mouser on bass and recording audio and midi files. 12. MELODY IDEAS : Euclidean Hocket: Folks who welcome to technique number one in the ill with the ideas, this is Euclidean Hockett. First of all, what is Euclidean? I'm not going to go too deep into the whole concept behind Euclidean, the whole theory behind it, but basically, I've got this Marlo step sequencer here, the Euclidean sequencer. And I'll just give you a brief, brief demonstration of what it does. You've got your steps, events, and rotation. Your steps is the amount of, let's say 16th notes in the partners playing over the amount of steps. The events is the amount of notes that are getting played. We just hit play, it's on sequencer. Hit play. Let's stop all them, let's, so this then you get different levels. So we could put the next one up. Change out to say six, a couple of two events, and your rotation is basically a start marker. So as you can hear, it's like hypnotic. Evolving can a sound is really nice. A bit of key there, but you get the idea. It's, it creates hypnotic. Really nice, nice, hypnotic type melody. How can we take that in Boton? It's Delete that. What I've done is I've just created three medi trucks, three different lines. If you come in each one I've just got an operator in each one. Just set a default. If you create three mei trucks and put an operator in each one, what you're going to do is set the course, the courses at one and number one. Number two put the course up to 2.3. Put the course up to three. That's basically meaning the amount of octaves. We can just hear each line on its own. And it's not all playing the same, we just play that first. That's basically three lines, if you commit the mid eclipse. Number one is the three hitting the first 16th and it's looped over 7/16 Number two, same again, three on the first not looped over six 16th and three is the three in the first note and it's looped over 13 16th odd numbers they're not going to learn, occasionally learn on each other, but they're all different octaves. It's cool. The Hockett part of, what do Hockett mean, basically? Hockett, if you've got a meld line, say for example, four or five notes on the meld line, but you play different elements, different instruments on each hit the meld line. That's basically hocketing by that. I'll show you what I mean by that. So we've got the three here play in. All I'd like to do is just put inside our Audiothrock. I like to record stuff as well just in case something you get a happy accident, Turn it off. Adiorom Euclidean Hockett, the full group. And of course you could set three audio throcks up and record each one separately. But we'll just do the group for now. Arm it and set the record. So what we'll do is just drop in sounds, play about the sound. You could hear all the sounds intertwined between each other. She just, you just get through and find different sounds. I mean, for example, you can maybe get a pard sound on one of them. Let's get a pard sound, of course. What works well with this is if you put in a mid truck and set a clip, you do a dotted baseline, so every two 16th she'd have a note like that. Let's grab a base line. Instruments base. I'll get I like. I'll go to log. We'll get basic onolog base. Pitch it down to octaves to C one pull down a bit. So as you can hear super quick to come up with the ideas, just find little melody lines that intertwine with each other. And remember, you don't have to have it that quick as looping over. You could double that. So we've got 47, you could put it to 14 for that one. Just if you're playing like a really deep organic house truck, you can have these kind of sitting in the back, little motifs here and there, just randomly playing through each other throughout the whole truck. So cool technique to get your head around. Just experiment with it, have fun with it and enjoy. I'll see in the next lessons. 13. Convert Harmony To Midi: I focus is technique two. This is just a quick one. This is convert to harmony. So I've got this pod sound here. What I'd like to do is convert the harmony from the pod Sound into median formation so I can then use my own sound. Now it takes a bit of perseverance because sometimes you just get nothing but a chaotic mess in the sound. Just have a bit of patience with it and you'll eventually find one you'll like. I find ones that are not so busy and they can a tail off. They've a sharp throns's here at the start of the sound. They work really well. So I'd like to hear a sound first. That's basically it. Right click convert, harrate umidy truck. I'll delete that one and commit the clip. And here the hit play, it's picked up the sounds pretty well. I just delete all the little notes are not needed. Maybe keep that one here there. We've got a little aggression there we can then build on. They could all their own sound to it. Let's go to the instruments like the format evolve pad space down a bit. We could always bump bottom two notes up and there I can fresh. And of course you could change out the sound pad. Sound By this one you can tell you can just get some cool results just by stealing a core progression from a ready made pod sign from a sample library. 14. Random Chord Record: Get on focus. This is technique number three and this is random chords. Find this pretty handy when it comes to just capturing random chord progressions for your chord. It's good for like house music. Super quick to set up. I've just picked up the first thing I think you should do is just find a sound that you like and then grab yourself the media effects first. It'll be the Arp, then we'll go for the random, and we'll get the house to go get the scale. The minor scale keeps setting key. Let's group them up just to keep it tidy. Come on. The first thing you'll do is in the set it up to random other, put the chances up 70% We'll keep the rate of date for now, but we can mess around with that as we're recording. Once that's set up, you come into the clip. Just put I've got two here or Sound That's pretty check for setting up the actual the mid truck itself for recording. Right click. Insert D truck, mid from number three. Dixon saw base arm the truck and then just hit the chords, picking up all the D come in res, so that's playing that's low for us to play where flits straight in. The first thing we'll do we, we'll get a kick in a heart going. If we draw a media clip onto the medi, truck with the instrument, remember and switch the media effect truck off because we don't need that anymore. We just hit play and loop through sections that you like. Let's go for half a bar loop. Let's play that, let's bump, let's go up an octave. Let's highlight up so sheep a bit, so you go. Cool. Takes a bit of sweeping through the sound until you find one that you like that was a whole 30 odd, just below 30 bars before actually heard something that I like there. So it takes a bit of perseverance as well, but you eventually pick something up that you can work with shifting it, then you could just duplicate it out. Then you could duplicate this, duplicate, maybe change up some of the Des. Maybe try doing something like invert so you get the idea pretty cool. That's random, using the media effects. The random or device on the scale device. 15. Random Riffs With Note Echo: Focus, this is technique number four is Random Rifts. Using Abletons, Midi effect, Echo, and just a couple of more effects. We're going to group it up in a middy Rk. Let's just jump in straight away and we'll grab the effects that we need. First thing we're going to get is the note echo. Drop it on. Then we'll get a random, We'll get the scale, we'll just highlight them all. Come on, group them up. Open up the marker control for the random. You're going to crank it up 100% choices, we're going to make 24, put it in sub then scale up to two. That's above the scale. Subs below bars like jump in between the two. But we'll just have it below the two scales. You can play around with that if you want, but we'll leave it for now. First thing right, click on the timing of the echo. Map it to marker one, switch on P three, PE. Map all these. We're just going to map pretty much everything. The pitch feedback and we'll leave the delay 100% Look, get the one note, play in two, it sounds like this. Now you're probably thinking that doesn't sound very great, but what you do is you just hit a random baton. And just keep hitting random until you find part of riffs that you like, we'll just record out like we've done before. Same idea as what we've done before. We've rooted middy, number three, monitor in arm the track and just hit record. And we'll capture the middy. Come in here, hit random. I'll do so. It's coming into middle clip. The first thing you want to do in the Midi clip is just zoom it all. And if you highlight the whole lot, then we'll just hit legato. And what that does is it shortens eclipse. There we go. Now we've got all the scattered midi basically. I think this one's at minus two. We can delete them. I'm delete the ones there at F's. Let's punch them up an octave there, a couple of octaves. Let's throw a midi clip onto the Dixon Saw base. I just find you'll get some really nice riff sounds with it. If we come in the loop, we're bar, I think we'll bounce them up. There's still a bit too low. Let's go everything just below C, one highlight at all. I want to just bump it up a couple of octaves. Say what it sounds like, that one. So as before, duplicate it out, crop it. Keep it, keep going. It's quite interesting. Duplicate that one out, crop out, cool. I like that. Nice. You just feel you could do something with that. You could take it into arrangement and do some variations of stuff on it. Sometimes if you find the notes too high by dropping them down. Nice little, nice little rifles. Crop that one as well. Crop it. I like cotton as well, so you get the idea that is using media effects. You've got the note echo. Just map all the parameters to hear apart from the delay itself. Keep it 100% That means it's always going to delay a note, it's going to play a chance, 100% choice is 24. Put it into, I think works the best. I had it. Throw it in sub I think by works the best, then you get a scale. You can change the scale obviously then record it to me and randomized, keep it in random. Just get 30 or 40 bars or so then sweep through it and you'll find some pretty cool rifts to take in your 16. Inspirational Field Recordings: This is technique number five in the melody section. And this one I want to take a look at. Just taking some inspiration from field recordings. I got this again from free. It's worth checking out. You find some pretty interesting sounds in here. So I'll just pick this one out. I'm thinking I want to make a hich and a bell type melodic layer to go in with one of these patterns that we have here from the random Brit section. I've got this sound, let's just listen to it. It's just chaos in here, that part there. But there's a couple of hits here. This one here, the bell hits which I think we could use. Let's just highlight that first section command lupe duplicated out. We'll keep the original. As you can see, you get 1234 transient hits. That's perfect, so we don't need to tide any of it up. If you're right click on the sound slice the numidy truck and just hit, Okay, now we've got these sounds here. Let's come into one of the sounds. Let's pitch this one. Let's warp it. Put it into complex. Let's pitch it down. 12, loop blength, take a loop. Length off, let's pull, sustained back, really sup a bit. Let's roll in snap on, get rid of that one. Let's copy this part. Let's go to the bottom one here. We hold down the option key, drag it across, crop it, So we've got this part. Here we go. Crop one here. Let's try this one, it across, punch it all down. And we'll just delete the ones that aren't lander on the notes to see what sounds shape the sounds. Let's get a chorus also. I think any que in there up. Get an op on drop on amount 35.34 how's that sound of the bass. We take that one off, let's copy that pattern and it, let's high, let them all shift down. See a guy. Let's delete that one. The same pattern as this base on here. Just tighten up the sounds a bit. People talking, here you go. As you can hear, you get an interesting like bell type layer. I mean that could maybe. You can maybe double that up, make it faster so we hit the divide by two baton. That will make we pull that one in there. Let's duplicate it across start marker like it where it was before. Over here, over here, the velocity up, nice little f going higher, f going on top of that baseline. Else we got this thing here. Let's come in. So go into this part over here somewhere. We'll see if we can do something with this. We'll just look at the bar of it. If we highlight them, come let's just knock right click, make it 16th notes. Let's see we can do something with the. Delete that one. Delete that one. Delete thron. Delete that one as well. Delete thron. Pull that one in the Delete this, if you come into this part here. Let's get the thron, the one, pull back this one here, so can I look at it as well? But you get the idea. Just getting some inspiration from field recordings to create like little melds, little riffs on top of what you have by copying patterns that you already have. That was a bell type sound. Now you could get something more melodic than that. Obviously, you have a good hunt through the sample library, but I just heard that came from like a music festival, so I thought I'll grab that and try that. So I've got something there. But the idea is just to find inspiration from field recordings and just repeat what I've done there. We just do the sliced the mid function, find the transient sliced themid and then you can start other than like creating your own rifts and patterns inside the drum rock. 17. Loop Melody Slicers 1: I focus is technique number six and this is all about using the slice functioning, simpler to capture melodis from loops. Sometimes you'll get a loop from a sample park and maybe pitch it down. You'll play about with that a bit, but you think you're still cheating, So you might like the sound of it. You might not like the pattern, But there's a way you can actually make it your own. So the first thing you're going to do is just right click, insert a Midi track. Then we're just going to find a melodic loop that we like. The sound of, we can manipulate it inside the sample using the Razer device. So let's just have a look to, we've got sample parks. Music That might be ideal. Let's grab that into the middy truck, We'll just slice it work if we come bark into sample. And let's go and get on before. And we're just going to use the random buttons as usual, but we're just going to change the sound then once we find a part like we're just manipulated some, we're using these parameters inside you. Just hit play. Let's change the length to 32, so it plays like a longer phrase. Let's run the bust, the gates fade out. Let's change it to complex. And we'll stretch out this part here, the texture, transpose it down, stretch again. Now let's take it off a tone. Let's put it into beats mode. Take the transpose back to zero, and we can use this transient function here. If you put it to one arrow, then pull back in the envelope. Now let's change the length. Us go down to something like six. Throw something like that. Same the gate to 12. Let's play with the frequency in the envelope. Put it down again in here. Let's get an Oscar drive, a delay. See what this base is like? Let's throw out like a bar base line with it. See what it sounds like? Let's drop it down. What's keys? It's flat, so we're going to sharp. Let's go to sharp two down. Let's do a car baseline. I thought we'll reset it off off a bar. Let's go. So like I said, you get some pretty nice tones here using the different algorithms like texture. Now let's get an over driving that I really like, the sound of the texture playing like a more sustained kind of note. So all the effects. Let's go to Drive. Drive, like how they work together, but you get the idea. Just find out like a musical loop that you like. Just get the rows behind it. Just start hitting all the random buttons. Try that. Odd length, six lengths for example. Then you get the gate 12. You can get some interesting like polyrhythm type sounds that these sins that sit in the background. A lot of progressive house these days, it's pretty cool. Once you like the pattern in the gate and I can just change around the notes. Court thrown, suppose kind of loses its character. There you go, up the scale, but I wonder how it sounds like in beats. A complex, complex. You get the idea of folks just mess around with it and far mess around with all these little parameters and enable the simpler stretching it, transposing it. Use a fade, get it different algorithms here to get different tones and textures and you get some really nice melodies and stuff you've just created. The apoorithm synth line, Mel, they type just from that one sample. That's something I wouldn't usually use in a throck. It sounds more like a hip hop type thing, but we've made it to this pretty cool stuff anyway, slicing loops in simpler. 18. Loop Melody Slicers 2: Folks, this is just a follow up, just a quick one, like the previous lesson where we're using the slice function Rosa and using music loops for this. Duplicate out three times, I've grouped up the rock and the simpler, duplicate out three times and just dropped in different loops into each simpler. So now we're combining three loops together from the same sample park and just coming up with their own unique, unique sound. And Mel, there, I've got this one then I'll just playing different setings. We'll just quickly go through them. The first one here. So it's playing through the play buck function through, meaning it'll just play through until another notes hit, then it'll reset and play through. It's quite interesting when you've got a busy look, but different sounds go on, but it just jumps between different sections. You can get some pretty unique results. That's what it's doing with this one. This is so base the fade out, everything else just stays the same. And just get the three function there. The six and the 12 on the rows are again for the polyithm type effect. Now the next one is playing a mono meaning it's just going to hit a note, stop, then I'll hit the next note. Once the next note is played, fade out all the way up. And the rest are just the same nice, cool, funky polyythmype plucky sound. Then the last one is playing through, we've got the fading up, we've got the fade in, so it's not so plucky as other sounds just to give about a contrast. And that should be zero. And that sounds like this. It's got the two still the same settings. On the rosa, it sounds like this. So we've all together go a base, as you can tell, you get some pretty unique, unique melody type sounds. Now, for this to work properly, I think to pick the right sounds. If you pick sounds for the same sample park, that usually works and just experiment with it. Pick them up, pitch them down, just like we've done in the previous video. Just try that. But just getting these three intertwining can really bring on an idea and spark some more inspiration for you to take your. 19. Transcribing Pro Tracks: How you getting on focus, this technique number eight and this is transcribing riffs or melody from professional trucks. Now I've got this truck here. It's a and roll remix of one of my original trucks which was released in my own label, Lurct Records. He's got this little rif going here now what I'd like to do is sometimes I'll be listening to like a tune I like. I wonder what the pattern is of that melody or I like the sound of that melody. I, I just like the overall feel of the melody or the F. I wonder if I could take that for myself and maybe put my own spin in it, put my own sound on it, add some notes, change Es about. Let's just do something like that. So what I would do to get the Midi information, I'm just insert a middy truck and it's looked, just a basic four pattern looped over a bar up and then do come in the mid clip. Come on shift and I'll get the mid clip. I'll just do it in for now. The first one here, just listen to the sound. Yeah, I can hear it there. So let's get a take it off. We'll come into our drums, we'll grab that. In fact, take over at the session view. Let's get operator operator, drop it on, sit down, Let's go up. I might just move it back here, maybe. Let's count the sound. Let's change the sound a bit. Y53, 5555. 5555. 5555, 5555. Try putting it down. Let's get all the effects. The overdrive, like about overdrive. Let's get an E, let's get a delay echo. Right, right, right, right. That's super quick to come up your own, not your own partners, but you steal partings, some other trucks and then just take the original idea, the notes, play around with them, and then just start building your own sound around it. Just as a starting point just, it's just another idea for you to take into your, thus tribes from professional trucks. 20. Recording FX: I focus this, this technique number nine in the meld section and this is about using audio effects at 100% wet and recording audio and just manipulating a bit just to fit with the mel they, we have. I've just got this basic meld here. I've got these two audio effect rocks here. Let's just quickly open them up. It's just a couple I've picked out found these in Ableton Park section. I just type an audio effect. We come in to Parker places, you've got all these different effects really handy stuff. They're all for different, they're all categorized distortion mix and Mars and modulation performance in G space. I like using the modulation in ******. Don't really throw out these ones, but that's something I should do. But it's worth going through the modulation in space ones and you get some really interesting textures and stuff bouncing off the meld. I just wanted to show you something that I'd like to do and just hopefully sparks more inspiration for you. We'll just switch one on for now. We'll just do a couple of them just so you get the idea. What I'd like to do is make sure everything's 100% in the wrap, like the echo, the chorus, so then the reverb and the phase hundred percent. I'll just make sure they're all 100% and I'll just listen to it. And what I'll do from there is I'll just insert an audio truck record from number eight. Monitor arm the truck and set record record like eight or nine cars. Then come back at the sound, switch it off, we'll close it to the sound 9 bars because as you can see the start of it, this is a good chunk of audio, but before the audio effect kicks in, just loop over that. And then it now we can process this one. Let's sow the two of them together. Now we come in here and pitch it down. Let's go one more. It's just a nice little body, a nice little texture, just sit underneath the meld and it fits because it's coming from that source. Just another way to add variation in your Melds. Let's do the next one. Same again, insert audio truck audio from eight switch off arm. We'll just make sure everything this one is 100% We don't need to because it's a redux frequency shift and a beat repeat. I've just set it. I'll just tweak about it and listen. Te play the sample sample down just like how we sound the same again. Let's record it this time. Let's put it into complex mode and let's reverse it. Let's maybe pitch this one up, 12 semitones. Say how it sounds. Remember P, one off and here. What's other reverb to that a bit. Why? Let's try in the beats mode. Let's play the transience. Let's change it to 16th notes. It's more like a stuttering effect, I just get here. It just fills out the space. It adds something more to your Mel. They just glues it together with sounds from that source and just really can inspire your creativity when you're writing Mel. Because sometimes I'll find I'll have a melody and I'm thinking that's okay. But then I'll find another sound to go with it. And then getting a synth or something and doing the same partner and try to find a sound for that. And before you know it, you're endlessly surfing for stuff, but just try using effects. Record it from that melody and just see what you can do with the effect. See what you can do. The audio file from that effect, nine times a tenant sparks a new idea to taking your Thr 21. Melodic Follow Actions: Welcome back folks, and this is technique number ten. And this one's all about melodic follow auctions. So we've got this bell sound, we'll just solo it, it's a loop. And what I've done is I've just in and I've took the game out from all we listened to it all. I've just took this first part here. I turn down the gain, hit it on the clip function, You get the gain, the press being, you get the pencil tool. Just take out the whole section, Just loop it over 4 bars because we're going to do some duplicates of this sound. If we click on it and we're going to duplicate it out four times. Second one, we'll come in and we'll pitches third one. Let's pitch it up seven in the last one, let's pitch it down a whole octave. Hold in the shift key and press it down, go down a whole octave. It's a sound set. Now if we press the bottom one and late the top one, they're all selected. They're all warped, they're all complex. Now if you hit follow action linked, you get linked, unlinked, and make sure this is sitting at 1.5 bars. Then you select the legato button. Legato means it will pick up, It'll run for 1.5 bars. We come in here, it'll run here, It'll stop when it plays the next one. Then when this clip gets retriggered again, it'll play from this point and play for another bar and a half, which is basically silence here. So it gives a bit a break for the sounds plus the effects which I'm about to show you just flutter over that silence. It sounds pretty cool. We've got the echo, the echo here, it's set 100% feedback, throw 58 and ping pong mode, basically. The follow up also, if you set this to other, that's the final thing to do. Set to other, that means it'll just jump between the four of them. If we listen to it, it's just going to do three organic house type meld sits and floats in the background. Sounds pretty cool. Let's pay, we'll start at the bottom one. You can hear nice evolving melodic texture type melds. It's really cool, you don't have to stop at four. You could go on, you could double that up, you could add other different types of melds in there that can march with it. Can I go well with it? But you have to do about a digging to find something that goes with it. Sometimes can work. You can get something, maybe even a star in the sound. Pretty cool. But you get the idea, the one shot in. Duplicate the one shot out, or duplicate the loop out. Just do different changes in pitch. You can a changing the tones in the texture stuff loads you can do and just make variations of it. Set the follow auctions, just hit record. You can always set up an audio truck then just at the audio from eight and then just record it in the Ao thru follow auctions. Folks have fun with it. You'll see in the next section, it's all about drones, textures, and parts. 22. VOCAL IDEAS : Creative Vocal Sidechain: On folks. This one's all about creative side shading and vocals. And I've got this idea here. I want you to focus on this sound here. Zil I want to create a side chain effect coming from that sound and affecting like a vocal phrase. So let's go into the vocals. I've got some vocals here, we'll grab a few on. So. Just random Indian type vocals. And. Let's try that one. And in I'm going to just knock it off at the end there. I'll commit to each one, and we'll just pitch them down. Put that one minus seven. Let's keep that one the same. I'll put this one minus seven. If we commit to the first one, I'm going to loop it. And first thing you're going to do is you're going to lock it into the grid. You're going to highlight it all, hit command. Let's solo it with the sound. And we're going to adjust these settings here. You're going to keep it in beats. You're going to preserve Trans into eighth notes. And you're going to put one to, and we'll just dial it back. I say around 50. Sounds okay, but for the effect of fully working for the lock in the pattern, you need to get an auto filter. Drop it on. Open it up here. We're going to sidechain it audio from silo so you can have a meld in your truck. You could just side chain it from the meld pull the frequency right back, pull the release, talk down envelope up to around say 80, 95. And we might have to tweak the gain here depending on the sound. Bush again. I I I I It's cool there. Let's hear the next one. See, that's it without the beats effects here, so we have to highlight at all. Command you to lock it in. Again, for us to work properly, you need the transient shaper here to get the eighth, pull it back around 50. Let's hear that one. I come in here. It's it without the filter. Strike the auto filter. Just locks in a lot better. Let's go to the last one. Let's go to fit off. Again Trans eighth notes. Go back to fifth day. Let's lock it in. Come on, you. On the volume. Let's get the water filter on. Let's hear them all together. One more final thing we'll do is we've got an echo on the second tier to eighth notes, feedback 85 and 100% wet in ping pong. And then just dial it up. You get the idea. Just really nice creative side chain vocals, I take a bit of tweaking yet, but just experiment with experiment with phrases sight chain it to different elements in the track using the auto filter. You don't have to use the auto filter. It still sounds okay, but I prefer for the auto filter to give a bit more locked into the actual pattern. You can't use the algorithms here in the beats and to preserve the transient section. Just dial dial back of the section here and just mess around with that as well. Tro and 16th notes as well. I can work pretty nice. Hope that makes sense, folks, and I'll see the next one. 23. Vocal Delay FX 1 (Pitch): Folks this is pitch delay effects on vocals. This time we've got three different versions of grain delay on send returns with some over drive. I'll just go through them in a second. This is another one just for other more depth to your trucks, just using effects. When you've got a vocal, sometimes you'll have a vocal, you're not quite sure what's going on, what's wrong, but sometimes other than these subtle layers behind it or on top of it, can really bring a truck to life. Let's listen to the vocal. You're lost, but I'll find you. You're lost, but I'll find you. I've just got that repeating over just for demonstration purposes. I've got three sends here in the first one. All three of them have got an over drive in a grain delay. The first one set the minus five in the pitch frequency is 2.87 Now I'll just mess around with the frequency to find a sound that fits. It sounds right When you're changing the frequency, make sure you press the bottom one here and you can change the frequency without changing the different effects here. Lots of frequency for that feedback. At 21% it's on three 16th, it's 100% wet. Then if it over drive at 966 with a drive and then 100% wet with a tone right down, you can mess around with that as well. But we'll do that because we're messing around with it. So let's just mess around with this one first just to see what it sounds like. So let's say you're lost. Turn it up, but I'll blind you. You're lost, but I'll blind you. Feed back down. We're lost, but I'll blind you. You're lost. Over, but I'll find you. You're lost, but I'll blind you. You, you are lost, But I'll mind you, you're lost. But I'll remind you you're lost. But I'll remind you. Cool. So that's a really nice Laird Sound. I can imagine some reverb on that as well, which I suppose you could add to the end of the center. Or you could record it to audio on the odd reverb on the audio track. But that's the first effect. You're lost, but I'll mind you now. Let's get the second one. Now the pitch is at plus five frequency at 2.60 Feedback, 100% dry, wet and 44. 16th notes thrives at 56 and we're setting up the higher region at 2.91 And then we go to drive with 100% tone right down. So let's hear what that sounds like. Let's crank it up. You're lost time, but I'll fold you a year. You're lost time, but I'll fed you a year. You're lost time, but I'll fad you a year. You're lost time, but I'll You're lost but I'll find you. Cool. So the two of them together, you're lost. I'll then we've got this one, the last one, the overdrive. It's on the same pitch. It's on one 16th on 100% dry wet. And it's fuel feedback, fuel dry, wet. And then the drive just stays the same as setting up the upper region at 2.91 The overdrive is exact same as the other one. But just listen to the effect that gives off if we pick a little spot. Let's automate this part here. You hear the effect, you are lost here. The delayed effect. It's really cool. For other than like space effects, let's do it more. Total part, you're lost. Let's hear it in a truck, you're lost. Lots are there. So we automate, take that off. Let's automate this part here. Let's do something like that. Crank it up and they are, you're lost. But I'll find you. You're lost. But I'll find you. You were lost, but I'll find you. You were lost. But I'll find you. You're lost, but I'll find you. You're lost, but I'll find you. You're lost. You can hear the effects, hear the sounds That really does add more depth to you just to that section of the truck, as opposed to just having you switch these off. But I'll find you. You were lost, but I'll find you. You were lost. You were lost. You logo folks, that's pitch delay. Using the grain delay, have fun with it. Just experiment with the different grains, different size, different pitches. The spray, you can just have endless fun here just by messing around with all these different settings, different delay times, E over drive to control the delay and how the tone of the delays have it down in the lows. You can have it more highly pronounced, but you get the idea that's grain delay pitch effects. 24. Vocal Delay FX 2 (Filter): Folks, this is another delay effect, This time using the filter delay on a vocal phrase, rhythmic type, melodic effect to the vocals. I'm going to go for this one here so far, but what we're going to do with it is we're going to create a two bar or even four bar clip command. We're going to hit command shift a mid clip. I'm going to grab the vocal, drop it in Warp Complex, the right click and just group the drum rock, draw on a note and play the sound. It should just play out. Sofa Reverb up. We've got three hits here. So what would want to do with this is I want to make another two copies. We hold on the option key and just drag them across three, we'll just rename 13. Hit one, going to be in here and hit two, obviously it's going to be the middle one. Let's pull across the and hit three here. Let's get it in there for the sounds. Let's pull the sustained right bark. And then if you right click copy value to siblings, I'll change everyone the sustained right bark. So we're just wanting like one sharp shots. Vocal hits. Vocal hits. We're going to use a filter delay in each one in a different way. Number one, we'll get filter delay. Drop it on. I want you to switch to the left off and the right if we just play it. Yes. So we've got one, the lay in the middle controlled by this filter. Yes, yes, yes, yes, like that sounds K over drive, drive, drive. Drop it on before. Yes, yes, yes, yes, yes, yes, yes. Let's keep it like that. Number two, let's come in the clip. We can pull that part now. Let's play that one there. Let's see how that sounds. If we drop another filter delay on number two, this time we'll switch filter one is in three in the middle. And let's switch the right filter. Switch it off then we'll just get the left and then the center plane. Let's have one in the center and keep it three there. Let's pull the feedback down in the center and push the feed back up on the left. That way none of the delays are playing on top of each other. Ones on three, then two, we've got on one, let's play a much higher sound anyway, and then your left side filters playing on a threes sitting on the left, it's not anywhere near the right. Coming to number three, same again, drop the filter. Let's take left off this time. Then on the right, let's keep it at five. And then this one of two, put the feedback down. We'll push your feedback up in the right. Let's hear how that sounds. If we put in a note here, get the idea. Now you can create all these evolving type patterns just by using all the different notes. They'll just intertwined between each other. Listen, of course, you can mess with the fellows. As you can hear, you can get some really interesting rhythms and stuff with the sound. It doesn't have to stop there. We could take these, copy one up, copy two, copy three up. Then in these ones, let's go in the pitch, put them all down, 12 semitones, this 112, they're all copied and they've all got the filters on them as well. Come in here and we could maybe bump them up, Colby, these ones, put them across that, or something like that. You get what I mean? It's a story about experimenting and some really interesting rhythms and stuff you can get there. You can do this. Now that you get this rock made, you can actually just go in and just start dropping a round them, other vocals and stuff to see how that sounds mixed up. You can mix vocals together, get other one shots, and just throw one shots and just have them bounce off each other with the way the filter delay set, that's delay effects number two. And that's the filter delay experiment with it. And have fun, and I'll see in the next lesson. 25. Creative Vocal Layers: Folks, this one's all about creative layering. With vocals, I want to add different three or four different layers to make this vocal sound just more effective, Have it sound more fuller in the mix. There's a number of ways we can go about this, so I think the first one we'll do is we'll deal like a reverb effect rather than an audio track. Drop it on the vocal crack, 100% wet up. Bring the size, so bring the size up to 200% wet. And then the audio track audio from 19 bit. Let's record it in. I'll do that then. I'll just hit command J. So that's it. And then we'll get the loop pattern. And then you want to hit the reverse pattern. Let's see how that sounds together. So remember, take the reverb off the original right now short, duplicate that, about two there. Let's maybe stick to that one to normal. Let's strike part one, left, right? And this one, let's offset by 16th, we'll be eighth. See what it sounds short. Let's duplicate one more time. Let's go into this one. We'll pitch it up semitones, change it to complex mode. We're just going to loop a certain part. I'll sweep through it till we find a sound that we like. Make sure it's sparking in the middle. Shut. Time's up two, sure. So, so it's got a chorus in this one. Moderators pitch chorus on. I've also got an 0 pawn, it just swings in the stereo field. It's another reverb. All, all, one final thing in the F's got a compress, it goes to the kick, copy the compressor or the send. So the effects are getting side changed in the kick as well. So they go focus creative layering. Just duplicate it out. I've recorded their audio, I've duplicated the audio out of tried ping it left and right, reversed it. Then in this one we've looked a section, pitched it up, then ****** it down, added some effects, a chorus. You can really fill out a whole section just by doing that and adding different effects. The original. Sure, sure. There you go, folks. Crave wearing, hope. That made sense, folks, and I'll see the next one. 26. Vocal Bass Sequencer: Get your own folks. This is how you create your own base lines using vocal phrases. So this vocal phrase here by Alan Watts. You can't transform yourself. If we drop that into a midi track, and then we just put it into slice mode. Let's get the rosar we'll drop it on. And if we hit play. Let's come into core it first. We're just going to sew the kick. And have you move it through. Let's change the bot nnn 999 Have you just hit around them in the rows. Put it in a complex mode and war pitch it down and octave Go. Now, let's get drive the drive on. Just to give it a slight boost. Just keep it random until you find a part of that you like. Fade out. The doctor doctor doctor doctor. Of course, you can just sweep through the sound. You can just find different tones and different types of bass. You can always pull back in the frequency. Get the envelope. So you get the idea, focal phrase into slice mode, pitch it down, try one octave, T two octaves and get the rows or device and just generate different parts. 27. Vocoder FX 1 (Carrier): Folks of this one's all about using the vocoder on a vocal and a carrier signal. Using like a synth just to get the famous Darf punk style sound where you get the robotic voice, which I'm sure we're all familiar with. So I've got this vocal by what I've done is if you come in a vocoder, I've just thrown on a random sound. But we'll get analog first to see you can hear it better if we turn this chord on. I've just got a pre made Midi chord from a park. You need to switch that off because we don't want the actual chords coming through because we're going to feed this to the vocal truck. If you go to audio fix, get a vocoder on what you want to select is carrier to external audio vocoder instrument, which is this one. Now if you press play now it's just a case of tweaking to taste where you've got all these different sections here. Now I wouldn't worry too much about the gate, the level in the range, et cetera, but I would mess around with the barns, the depth, the attack release in the format. So let's do that. Let's start off of the barns first. I quite like it in the maximum value because it picks up more of the harmonics depth and that displays the sound from the sent. You want to blend it as much as you want like a blend option foreman by. It's almost like a pitch talk to smooze it out. You can see how to smooze it out by using a talk on the resource. Pretty cool. Now we've got to set up on the Voc. What's pretty cool is if you start swapping out different sounds, you can get some interesting vocal effects. And remember, you've got all the different presets in here. It's working through all the different ones and trying random ones. Like for example, you've got ambient and evolving. So it just gives off totally different. You can mess around with the different parameters in the synth as well. To change it up, we go to piano, the pluck. Pretty cool, remember as well, you could pick up the median formation as well. To change it, you've go up an octave down. It's lots of worth experimenting with changing out the different sounds. And of course, you could change the actual thing itself. Let's try a speech sample. Let's get the hall and worked on it and see how that sounds. It's got an Q on there. Obviously, it would take a lot of tweaking to get locked in with a certain groove, but you get the idea. This is just to further enhance our creativity when it comes to working the vocals and just using the vocal on our instrument. Rock with a synth, which remember, is turned off, but it's rooted to the actual vocal itself. So have fun with it folks, and I'll see you next one. 28. Vocoder FX 2 (Pitch Tracking): Folks, this is another vocal that affects, and this time we're going to use the pitch tracking function, which work really well, like spoken vocals. So I've got the more than what's one here. You can't make yourself say, you can't make yourself loving, you can't make yourself unselfish. And yet it's absolutely necessary that we be that way. It's absolutely necessary. So let's try. The Voder on here sold. You can't make yourself all the effects. Got a resonance, Got a Voder, drop it on, and this time instead of the external one, we're going to use pitch trucking solo it Makela bonds to 40 S. We're just going to take out this bottom part here. Make yourself Sakellflf. You can pitch it down. Let's go down two octaves, 24. You can't make yourself say, you can't make yourself. You can make yourself unselfish. You can't make yourself say, can't make yourself pretty cool. Then you mess around the depth. You can't make yourself say can enhance it. Can't make yourself unselfishly. Kind of reminds of little Louis evening. So far it sounds like when you hear that vocal effect on that track, the release pattern, you can imagine that being automated. When it comes to the range, you can change the oscillator quite like this one here. Now, the highs and the lows as well, you can mess around with that. It gives off a different effect, doesn't change. So if you just want to keep it like one tone without changing pitch, that sounds pretty cool. When you mess around with these parameters here, the pitch kind of goes with what the vocals pitches. But if you have it set, can't it just stays the same pitch right through. Pull it right down, can't cool. It'll take about a tweak of t. Find something that you like. But try the attack. Say say here in the truck. So you could tell roads are fun to be hard there. I bypassed folder for so long, I didn't really try messing around with it. But you can get really creative with it just using these different carrier like effects here. The noise external modulator, pitchfork. And that pitchforks. Cool. And really worth experimenting with, so I'll fun with it folks, and I'll see you next. 29. Vocal Midi Jam: Getting on folks. So this is a vocal midi jar. Here is I'm just right click either in a mid truck, in an audio truck, in the mid truck. I'm just going to drop in my speech sample, which is again the Alan Watts drop it in here. And I'll automatically open up and simpler. Now you want to put in slice mode. What happens now is I've got my push controller here, so if I just hit the keys on it, take up the layoff can't make. So what I'd like to do here is I'll put the fade out right up. I'd like to pitch it down, pitch it down, 12 semitones. And then what I'm going to do is just play over the truck and record audio trucks and I can pick out the best bit I like. So we come across here, I like to do some session view because you can record a much longer part of audio from you're in arrangement just loop over the section you're in unless you record right out across the whole truck. Which works sometimes, but for this demonstration I want to do it in here. I'm going to root audio from 25 Alan Watts And it's armed, it's set to record. So I'm just going to hit record and it'll play over it and we'll just jom in some sound, see what happens. Let's just look over it, I'll see what we've got. Let's come into the effects. Let's get some send a bit. The end here I like. Let's come back here so I can hear like a rhythm in that. Let's crop it. That's right at all command you go. I would also say I would add some more effects to that like over get some EQ on it but you get the idea over drive, drop it on jam. Away with the different slices from the vocal inside. A simpler and you don't have to transpose it, you can mess around with that, Try different keys, you could change the algorithms, et cetera, so okay folks will have fun with it and I'll see the. 30. Harmonics With Resonator: This one's all about Abellon's resonator to add extra harmonics to a vocal sample. Now obviously this album watch isn't a song samples a speech, basically it's a speech sample. I find this really useful using this technique. Because you can take a speech sample like this and make it sound a lot more interesting just by using the resonator effect. Let's drop it on. We've got it soloed, let's switch it off. You can't make yourself say, this truck I've got, it's already setting minor. It's already setting the scale. So let's quickly look through resonator. You can change the frequency of the sound. You can't make yourself, let's put 100% wet. So basically set it at a barn pass, so we'll just pick up the frequencies within that range, like it up there, around 700. Now the decay is the length the resonators play at, so you can control the color, which is basically the brightness. Then you've got your notes that you could add on, obviously that's your root note to see two. We'll leave that as it is. We've got the four here we can play with. Let's go the first one and let's do a perfect fifth. Let's go up seven semitones. Let's hear what it sounds like. Just hear that. Let's try boosting that seventh up. Let's keep it, let's go 12 semitones In that one, we'll do one more. And this one I think we'll do two. We'll do -12 In this one, again, up now, this last one, we'll do a little automation trick to see how it sounds like. See how it changes the harmonic. I think we'll change it here. And this one, let's go to the pitch. Let's do it down to this one. We'll put the minus two so you can hear the harmonic underfit. It sounds really nice. So you can imagine having your own pard Sound. Playing that chord progression as well, just sitting in the bark underneath it would sound really, really nice. Let's hear it with the beats. Let's try some bird, that's the resonator. And just other than extra harmonics by using the resonator itself. And then we've just automated some pitch to change the harmonics, which I think sounds really nice. And then you could build from that. Like other than a pard sound, which again we'd add more harmonics and just more depth to the sound. Enjoy folks. 31. Vocal Freeze Pads: Folks. And this one is all about creating frozen reverb parts, just taking the corners of the same sound, same frozen reverb, but using it in different pitches. And just layering them up for a nice spacious like be cool for like an intro effect to have a vocal one shot that you've already got. Let's just insert an audio track and we're going to audio from number eight. Take the audio from the monitor to arm the truck. So now we're getting audio signal through here. Come back into the vocal, the truck we'll get here is a minor pitch. The vocal up three semitones, it's now sharp vocal, it's now in a minor. What we're going to do is we're going into the vocal, we're going to grab audio's get a spectral bar's, got three function in here. Now we play the sound, and we'll play around with these different filters here to get the desired sound of light by using the freeze button. Now if you mess around with a halo button, that gives something like a tail on it, fees that they are around 0.49 394 filter, 11.5 in the filter frequency. Two, we just come into the audio track and we're going to hit Record 4 bars. I'll do this right then. We can bark at the vocal filling this time. Let's pitch it down, 12. Pull down the shift key. The down key goes to minus nine. Bark at the vocal, we take it off. Freeze and freeze the tail again. Then once again just hit the 4 bars, right click, crop. Let's go again, Let's go one. Let's come down five, minus two, embark in the vocal, Felt off the freeze and play, then freeze again, just at the right spot that record, 4 bars again. Crop it again, plus three. Let's go seven. Let's go to ten, the vocal, turn it off. Halo, Play. Freeze. Let's do one more. Let's go right down. So go down to plus three, go down two ock days, holding the shift down again. -21 Free play frequency down a record. I'll do it. I'm going to vocal fill, get rid of the spectral blur. Just delete it now. We've got all these ones to play with now. So we've got, this is the lowest one. Bring it below. And then that I think was the second down one octave, P -12 These ones here, we'll just mess around with these. We're going to put down the first one, hold down the last one. We'll group command G. Now group them all. Let's solo it then. Just hit play. You can hear you've got this much more harmonic type sound. We come in, each sound cat out all the frequencies that we're not using. Keep each one. Maybe not so much the wall one, but the group, the mix. If you go to compressor, there's one called mix gel just to help glue the sounds together. Then in these two here, what I'd like to do is get an auto part, prop it on this one so the mount that you know how it sweeps left or right. Then we're just going to copy it, it onto the top one so that as well. This time we you invert it. Now that two are playing between each other, it's got a reverb, drop it on, say it does, let's hear it with the vocal itself. So you could go one step further, get our EQA. Then we could drop it on just before we can press our up, stick it in the midside mode, the side, it's like pardon these. So let's try, if we come into this one, let's try going to a complex pro. Let's pitch it down, 12, si me, this one. Let's pitch this one down as well. So just an idea, just if you want to create, if you want to take a vocal that you already have and just create another space, just some kind of p, atmospheric power that sits in the bark in different layers. That's just one way of doing it. Just freezing the tail and then just stark it up the layers on top of each other. Take a bit of processing yet to get it properly sounding right. I mean, you'd have to go through the mixing phase where you'd have to echo everything, get it done right. But that's just an idea of taking one hit and then recording out your own sounds just to be able to start on top each other, come up with something cohesive that tells with the vocal that you have. Okay, folks, hope that makes sense and I'll see in the next one. 32. DRUM IDEAS : Convert Drums To Midi: Folks, welcome to Technique number one. This technique is all about convert drums to Midi. What you do is just grab yourself a percussion loop, just straight out of any sample pocket you have. I find percussion loops work well rather than top loops or heart loops, et cetera, You can't use that. But for this example, I'm going to use a percussion loop. So I've got this one here. We're just going to right click, confer drums to new Midi truck. Then I'm going to drag the clip onto a kit. Now make sure you've got a kit that you like. I've just got one straight out of Abletons library. It's the cash on it. This one. Delete this truck here. Now we've got the percussion, we've got the clip. If you come inside the clip, if you notice, it's just picked up the heart, which is cool. That's a groove. I'll just highlight them all here. We'll lock them into the grid. Push it back hold command. Then we'll leave them as it is. The hit play. Now come in the clip and then you just start drawing notes. Obviously, you'll draw in your kick. Be awesome. Claps. Nice. Let's put a crack. We'll just put a try on. Go in for the offbeat heart goes. Duplicate it out. Let's try copying the snare pattern command C. Then highlight, hold down the option key. Just drag it up so you get the same pattern. Let's shift it across. Let's just highlight that. Let's delete those ones. Keep them cool. Let's try to bump it up another. Sound Cool, Like that. Sound Let's duplicate it out now. So now if you play it with the percussion loop, you'll find it works really well. So as you can see straightaway you come up with a groove that you like and it just sparks up creativity inside you just to keep going and maybe add some more stuff, then you can start adding like the heart, et cetera, just to enhance the groove a bit more then it doesn't have to stop there. You can come inside the drums, you could just drop on some random kind of K. Let's go for the Deep Night Kit. Drop it on straight away. The keys, who bucks stain Straightaway. As you can see, you get a quick groove going just by hitting right click and convert drums to Midi. Then go in, throw your pattern other than extra notes, other than the kick, if it doesn't pick up the kick, et cetera. And then you can just swap out drum kits. 33. Percussive Follow Actions: Folks, welcome back, and this is technique number two, and this is all about random follow auctions to create your own percussion loops. This to say you've got your basic drumbeat down. You're sitting, looking at a project, and you're thinking, right, let me get some percussion, you grab a loop. Okay, it sounds good, but you feel like you're cheating a bit. So you want to make it your own. So what you do is you get the percussion loop. I've got this one here from technique number one. And what you do is just duplicate it out three times. So you come into the second one, keep the first one as it is. Second one, pitch it down five semitones. Then the third one, let's pitch it down 12. It doesn't have to be exactly that mean, it's up to you what you do. It's worth experimenting with the sound. Make sure it's in complex mode. Just to get the better sound quality, click the top one. Hold down the shift key, and click the bottom one. Then if you commit the follow auctions here, you just follow actions. Make sure all three are highlighted. Click and follow actions. Then if you put next, change it to other, then this one leave it as it is no action. If you hit the unlinked function, then pull it down, change it. Let's go for 2.0 Cl 2.2 and let's hit the legato bat. And legato meaning that it will pick up where it left off when it jumped on to the next clip. So you'll see what I mean in a minute. So hit play. Sounds pretty cool to me. So what you would do is right click into our audio truck audio from number two, monitor in, switch it off, arm the truck and then just hit record and let it play out. So we stopped it there. Let's turn that one off for now. So just swim back on and put it to auto. Now we've got this clip if you've got a complex. So we're just going to loop a section command L it like that part there. So we'll run with that folks, such a random percussion using follow auctions. So remember, duplicate it out three times, set the follow auctions, set up your audio track, then just hit record and have fun. 34. Random Texture Layers: Folks, welcome back to technique number three and this is all about random textured layers on top of your drum patterns. What you do is you right click inside my truck. If we just type in texture into our library, I'm going to go to all results. I'm going to go for one of these here by quiver. I'm going to drop it in the mid truck. Then I'm going to hit the Slice mode. Then I'll copy and paste the drum pattern. Hold down the option key, drag on to the textured layer solo. It play. Here's just play 121212, but if you get a midi effect, use a random, drop it in just before it chance up to 70% choices. All the way up to 24 scale, around three. Just so it plays the full range of the audio clip. You just mess around with the sound. Come in the controls, get the envelope open up the amount. I just got Q to quickly clean that up. Now you have it. You've just got this little texture layer sitting in the back. It copies the patterns of the drum the drum hits here. You can imagine it being a bit. You can imagine if you've got a busier drum loop, you've got the percussive hits here and there. It would sound pretty cool as well. Remember, try it out in different sounds as well, not just the likes of this type of texture. You can always try like foley sounds. Our field recordings work really well and it just gives organic feel, deodrums. 35. Stretched Perc: I get your own folks, welcome back. This is technique number four. This is about stretching audio. So I've got this percussion loop now if you come inside the clip, you've got the option here to stretch it. You can times it by two, you can keep going as long as you want, but let's just stretch it once. And that's double it in length. So let's hear it now. Let's duplicate it out. We'll use it twice on the first part. If you loop the first part, if you crop it right, click, press crops, you get the audio file in one part. Let's drag that one across here. We just listen to this one, listen to how it sounds of the beat goes well, so let's get all the effect. I wouldn't mind trying over driving this. Pull it down like that. Let's come out to this one. This time we'll loop. We had that first part for the first one. Let's loop over 2 bars. Let's hear how that sounds together. Now let's, I wonder what would happen if we took the over drive, copied it, dropped it on the percussion loop. Let's highlight. Let's get those highs up there. Straight away. Else you can hear you've come up with your own unique sound. So let's just go back to sort, let's grab a sound and again, let's hear how it sounds before and after you went from that. Something totally different. So that's stretching inside the Eclipse experiment again, without stretch your audio out, try duplicating it out a couple of times and just do different takes in different parts of the sound as well. Even try using different effects like reverb and delay. 36. Percussive Melodys: Folks, welcome back. This is technique number five and this is all about percussive melody using the Rozer step sequencer in a percussive one shot. If you right click in track, I'll come up here, search for Razer. If you don't have it, I'll leave it in the description for you. It's totally free all results. Let's get the razer on. We're just going to pick a percussive sound. It's got a tone, a tone to it. So we come in to use sample parks. Let's go High Park. Let's go for that one. All right, Drop it in here. First thing you want to do is a bad press play. Now let's change the bottom octave to three. That will be three, so we're in the K three. Let's change the scale to pentatonic, so it's only going to play five notes of the scale. Cool, Now the beat rozers, you just hit the random button and away you go. So more complex mode envelope, open current projects, go to user library, want to get the normal delay. If we could change the octave, you could change it down to two. Always change the length of the note. Double it to 32 as you can hear. Totally. It's really quick to come up with melodies and stuff pretty quick. Art effects get like a little percussive melodys' work really well in deep deep house music as well as well as techno. I think it would work well for techno like polyrhythms, et cetera, where you can change your length to six, let's go to six around the velocity. So as you can see, super quick to come up with ideas and melodies. Step sequencer using a cursive one shot to create a Csive melodies. 37. Reversed Drum Loop Textures: Their own folks. This is Technique six, this is reversing drum loops and then effects just to create like textures. The first thing you're going to do is just insert an audio truck. Click insert Audio truck. You want to root audio from the group, set the, switch it off, and then arm the truck. So we're just going to record the loops. We'll go for 12 bars because you remember this sounds like a polythmype's over an odd amount of time. It's just to view do it over 12 bars. It's just going to keep evolving and changing over time. So we'll just hit record. I'll do it just right click and then it, if I switch it back on, let's slow it, let's put it into complex mode. Stretch it just the one time, then just hit this baton here. This is a reverse reverse baton. Let's pull it down a bit. Now, the next thing I want to get, just quickly it, we're going to get a frequency shift. Frequency shift, all results on this is the random, let's take a randomizer off. Reset the whole thing back to default, 180.50 then just line them up and then you put the dry wet to 50% If you just notch the fine up, just a couple, 0.02 hurts if you listen to the sound, it just goes barking in in the mix. Go right. Let's get a flanger. If we go to pitch flanger, drop ty on between there to bring a volume down a bit in the trump, look how that sounds. Now, put the time right up to 20 milliseconds frequency 0.59 77. Feedback and warmth, 34. It's got another EQ. After that, let's get a dynamics, let's get a compressor. Just side chain it to the become Deep Knight Kit in this part here, drop that down. You don't want to side tune the whole kit or else should be getting all the other sounds as well. You just want the kick which should be up here. That's kick, that's way pitching it down straight. The other algorithms, cool. You get some interesting, interesting sounds that evolve over time. And they're gelled to the trap, they're glued to the track because they're coming from the beach source. So it sounds cool to me. Remember it doesn't have to, you don't have to include the kick. You can just do like maybe the percussive melody and record that, Reverse it and have that coming in and out between the sounds. So just another idea for you folks to take your production sessions. To summarize, just insert audio, Track, set monitor to record the full loop audio from the group. Record a full loop and then just reverse it and then just start Ax and experiment. Okay folks, as 38. Automate And Consolidate Loops: Focus. This is technique number seven. This is taking drum loops and making them your own just by using volume automation. And then the consolidate functioning arrangement view. I've got this drum loop here, just a basic minimal drum beat. I've picked out a few percussion loops here, We'll just go through them one by one. We'll drag the first one across and we'll just pull the volume down and we'll hit play. There's a couple of sounds in there, so just say you've got a percussion loop you think, right? I like the loop better. A couple of sounds I don't like but there's ones I do like. There's a way you can do that. If you turn on the clip function here, go to this button here, make sure the gain is enabled. The B key on the keyboard, I'll give you the pencil and just the volumes right down. Then all you do is just highlight the part that you like. I like that. Then I would just hit the B button again, loop it over the 2 bars, hit command L loop, then I would right click pick crop and then just drag the clip in the arrangement. View. Hit this button here and just play it, then just speak. So it's highlighted. Hit Command J, Consolidated, consolidates it. Now you've just get your own loop. Then you just drag it back across, Drop it in here, it down here. And then we'll just hit the loop function there to make sure it's looped over the 2 bars. Let's keep it going. Let's drag this one across. I like that part. There we go. To clip again. Again, hit the button, mute it all out. Let's highlight this part here, then see them again, highlight it. Command L, right click, crop. Throw it across on here. Let's solo it. Command J, You have it again. Put it across and it on. So you've got a little clip here of a sound. So we just come into the game again. Hit the B button. Just take that right out. You can always consolidate it if you want in. The same with this one is the start of our tail. Come in here a little, just take it out. Let's draw this one across one here, I think I want to just take out the kick drum. I just want to take the kick drum right out. Just got the percussion. All we do then is just that command D that loops at all the kicks we go. Then click, drag it across, drop it on here. Make sure that's clicked off. Command J, just got a percussion loop. Drop it on, hit play number, and hit loop. Then I've just got this heart just got a nice little drum groove going. You have it folks that follow automation eclipse and then consolidating them to create your own drum loops. All you do then is if you want to do, if you want to keep them loops, you just come in here at that button and you've got it here and you can save it in your sample library. Super quick and easy. It's a good way of building up sounds that you like just by using loops from sample parts. 39. Talking Chamber Perc: Folks this is technique eight, and I'd like to show you how sometimes you've got some sounds, you listen to protracts, so you think there's more ginger stuff there in the Barker's. All these nice textures and just things that make it sound fuller in the mix melt. This is like one of the things that your truck could be missing is just a layer, like an audio effect layer to your sound. We're going to demonstrate in this one we've got this percussion. What we want to do is add a bit a movement and just add another layer in there just to make it sound a bit more fuller and professional. If we type in drum, there's a chamber marks for live talking drum chorus. We drop this on now, listen to it. If you play around with the delays, let's do some automation. Quite like this one here. Let's use this one. We'll just do it in the one just to show you what the possibilities are. So I've got everything set in quarter notes. I've got the B button. And we're just going to highlight some of the clips and just listen to the sound. You could unlink it instead of having it over 4 bars, you could have that playing over, let's say six. Now it's playing over 6 bars. And this is going to play, it's going to be different. It's going to evolve and be different every time. Because it's played over a different number of bars, it makes sense. We can even bring it in there. Let's try that. So this sounds, see how much movement to the group, it just sounds really nice. I quite like it. It might not be your test, but you get the idea. It's just about how the movement sounds and you could use that with different effects. I'm using this one, for example, the talking drum chorus. I thought it was pretty cool. You've got these different delay lines, you can actually automate different ones. You could duplicate it out. Let's say, let's go for 12 bars. Then you could come in the second half, you could come into this delay here, click on that one, take it up, unlinked down 12 bars in the second half here we could have it doing something like that so you get the idea. It's automating certain sounds. Like I said, you could be sitting there with your drums, you just think something's, it's missing a bit of movement. Just experiment with different effects. Just automate it inside the clip. But I can just get the juices going and get a creative juices going that can really spark other ideas to carrier loop forward. 40. Random Percussive Fills: Looking back folks, this is technique number nine and this is all about percussive fills using media effects. And just the percussion hits we're going to record to audio because sometimes you're writing a drumbeat and you just want some sporadic hits. I find that a lot of time when I try to do it manually and just trying to rigidly place in notes, it doesn't sound that great. But just by doing this recording to audio, you can get some interest in like little fills and stuff. Just another hand want to have in your tool kit. So let's right click me truck, click again. Audio truck audio number 12. We get an instrument on first. If we got a drum rock, drop it on The audio from the drum number number 12 off to you commit the drum rock. And all you're going to do is just get a few percussive hits. Let's drop in these here and you come in the clip. Let's duplicate it, let's do it over 2 bars just now. We're not waiting too long, so we'll just drag it up. I'm going to fill them all at first. I'll mute the first ones. Then what you do here is just keep adding in extra hits until you find out amount of hits that you think sounds right. So start off one. So we come in the drum rock, get effect, get the throw the P, change it to go for 60 notes style. Let's do random forget, check that. Steps one, let's get the media effect. Get the random media effect. Drop it on before the rock chants. We'll put up to 70 for now and put the choices five or six. Let's hear how that sounds. The chance it, I'm going to change that one. I don't like that sound. Let's go back to the sample part. Rop that one in higher contrast. I drop that one in. Let's go to the classic mode. In the all the all hit classic mode and pull back the sustain and right click on the sustain. And if you copy value siblings that copies the value straight across the mall in decay. Just bunch it up slightly and just copy valued siblings. Same. The release, pull it back, just tightens it up. Copy valued, Sibs, record the audio and you've got the audio from there and then just record it in. Just come out the sound and you've just got these little fill hits to play with. If you turn that one off, then you just come in and just come out. And then you would just go to the clip. Just pull the volume right down and then just see what ones can work well for you. You've got its here. I quite like that part there. So then then I would just take that down and duplicate it out. This one. Duplicate it out again. And this one, if we loop, say that part there, then it, then I would just delete that last part I got across. Then if we come into this one, we're going to loop this part here. We duplicated out so we don't lose it that first one crop it, you've got that one to play with as well. You can process that all you like. Let's stop that then. You could do that 1/4 bars or maybe 8 bars even. Then you would have the starting point here. Then it would play this part. Let's get the volume right up. Just now, it can be adjusted but you get the idea that's going to be 2 bars. Let's play. You would get this, take this across. Let's see what we've got here. The sounds here. Plate help had the volume, see that part here. So if you wish to do something like maybe start a tier, you've got yourself a percussion groove there. So you can also use it as you can do anything at all that you want with it. Let's crop, let's duplicate it out. Pull that 1/4 bars, that one in four, that one in eight, that one in two. Then we would have to pull that start marker over here. Let's get the volume up in here and volume down back across and then pull it back. Yeah, you get the idea. Just little fills, little percuss, fill kind hits. You don't have to go as extreme as I went there. I could just have it playing at the end of every 4 bars. And it just gives you something else to work with. A bit more ear condi for your track, which you find that you might be lacking and just a bit more interest. 41. Sliced Shakers: Focus this technique number ten. And this is how to create your own top shaker loops using slice mode enabled and simpler. The first thing you're going to do is right click, insert track, right click, insert an audio track in the track. What you want to do is just got your sample library. I'm just going to write in Shaker. Let's get some loops. Number of loops here. We drag one of them in, you're going to hit Slice mode, then we're going to group it, open it up. We're just going to drop in three or four, say three at the mall. And Slice mode. Slice mode, perfect. Just ungroup that. There we go. Now if we get a rosa results step, secdrop on. What we want to do here is U, we come the first one, just a slight fade in Second 34 different milliseconds for each one. They're not hitting exactly on the same, on the same hits, the transients don't clash as much. You can adjust this as you go, just listen to it as you're playing it. What I want to use here in the Ros is the notes random and the velocity random comedo hold in the command key. Audio 18 command key arm be the auto and now all we do is set record and just set random in the notes by touching them down. Work mode complex. Now what we could do here is copy hold in the option key a copy of operator on the second one, a copy of Raser on the third one. Now we've got a Ser in each one, let's just that one on the top one when we come down just hit the round them on the gate then round them on the gate, in this one and round them on the gate and should do it, just hit round them again. Now you've got your own recorded audio. You can just go through it and find loops that you think it's got like a nice groove. Groove to this was set off, just drag it across. Just say a loop of bar quite like that one there. Then what we do is take that, duplicate it out, We'll just crop it. We'll crop that as well. So we put the two of them. This one, pitch it down 12 semitones, put it in complex mute the two, Group highlight the both of them, then kick, come on, group the two of them together, rename it shaker, make it yellow, yellow. So then become in audio effects. Eight and drop on the second one, grab drive for Scot and final distortion. Let's get a side chain dynamics compressor, drop it on the full rock. Let's get a side chain, side chain from the kick again, make sure we get this one here, the reverb. That's fine. You go but you get the idea. It's just super quick to come up with your own like top loops and shakers and stuff. And from there on, I mean from there you can always right click, extract the groove and you get this groove here from the shaker. From there you can always get a bass sound analog base base. She's got the velocity set in Sir, which marks the that one out. That one out of when I got one out, how it sounds. So you go you can hear the shakers about, clean it up a bit of a Q, you get the idea. Just super quick to come up with shaker grooves, which then from the groove you can build on top of that legs for the base and the percussion, et cetera. 42. MAX FOR LIVE IDEAS : Melodys With Tree Tone : Folks and this one is all about three to max. Allows three tone, just creating a nice little melodic. Mallypelds'll just drop it on. I've just got this pattern here, just a small pattern pattern over 4 bars starting at C goes up to D sharp three. Just a brief overview of the actual thing itself. You've got these three generators here, Noise, filter and wind. For hit play. You'll just get an idea of what they do to the sound. Wind. It's almost like the speed, it's moving. These are like filter envelopes, these parts here. Filter almost like filters in the light. So much through get the rain. Just sex or notes. Let's change a scale, let's go to minor, let's go G sharp. Okay. The fun parts in the middle here where you've got the different types of, the different types of generators. So let's go through each one to see what they give off. That's quite nice. This one, the sort and rebar, nice. Let's open up this part here. This is your LFO. We can change L, you can sink it for 16. We can mess around with a second. But what we're going to do is we're going to root the L, let's root it to the decay. Let's mess around with the amount to see what happens to the sound. Let's see, start something different. Let's go to envelope one. Let's mark it to the tune in N. We could do something with this. Let's change this part here. Let's go here. Let's just bump it up in that section, 03302. See what does this sound? This will be nice. Let's go envelope two. Let's go to harmonics. This one, let's go to fill our kettle. And then you change the reds. It just goes off different tones as well. So you get the idea. Just can add some really nice layers to your melds just by using this three tone, especially your bell melodies. Sometimes you're going to get a bell to same even though the tone pretty nice, so that's three tone folks. Have fun with that, Experiment with the different, different generators and just see what difference you can make to your mels. This is just by using the root in here and like adding subtle changes to notes, sections of the notes, et cetera, you can get some really nice results. Okay folks, hope that helps and I'll see in the next. 43. Euclidean Percussion: Folks, and this one is all about creating percussion groups using Euclidean sequencer. Now, brief overview, four different sequences that can play over time, over different steps, events, and rotation. Just show you quickly the legs of the steps. Let's do the steps. I've got four sounds in here. I've got a base sound. I've flap higher, Tom. They're all see this one first. The blue, it's all set to. The note on the rack just starts at C1c sharp, D and D sharp. Then if you come to the green C sharp, yellow D sharp, and read, it's on D, so you can move it up at the D sharp. You just move our notes to set to the notes of the drum rock. We're just going into the first one, the blue. We'll just go through the steps solo at the hit play. Okay, we've got five steps, let's go five events. So you can see it four events to three, it means three events. We hit three times over five steps in the circle. We hear our drumbeat, It's a really nice rhythm. Of course, you can add the different steps into the parter and be at the top of the snare, and look at the basic rotation. Rotation means it just moves the notes around the different position on the circle. So will start there, we pull it back just again. It gives different rhythms as well, so it's worth messing around with. Then your events, you can go up as far as 32, 32 events steps, so a lot of fun to be hard with it. Let's reset it. Now, I've got the bass sound, snare, and the tom here, so let's, let's try to come up with a rhythm. It sounds pretty cool, it's quite quick to come up with something. So I mean, what I like to do is I'll start with a bass set and I'd like to start with the bass first. Quite like that, 15 down. I like the three steps. I like it there. Now let's go to the next one. Saw lo Thomas leave up, went out. Let's go to the snare. Let's go, let's go higher Tom. Sometimes then what I'll do is I'll just add like effects in the sounds. Let's show the rock. I've got this base arm being Sound here, a delay. Then I've got a rock, put the utility base. Let's got the qua, let's put up in our reverb. Cool I emergen like a high heart in there. Strap in here. You can see you can just get super, you can automate like the decay on the bass. Sound There it would sound pretty cool, but you see what I mean. Just quick to come up with ideas of the Euclidean sequencer. Try out different sounds. I've just got the four here, but you've got the whole wrap to play with. And can you play a higher note in one of these? It'll play. So you could have that up. He R in F one here. You could have a different sound. If, for example, just get a heart and drop it on, I'll load. Let's put some reverb on it so it sounds you can hear it. What though? You can just these different sounds, different hits in here. Come into this one. Come into the green. Turn on the green. You could put a different hit up here. You know what I mean? You could just really get creative with it and experiment with different sounds in the rock, and create these unique Euclidean rhythms so that all intertwine with each other. And it can really keep a rock interesting for a long period of time. If you get this right, I hope that helps folks, and I'll see the next one. 44. Buffer Glitch Perc: Folks. And this one is all about using Able's marks for buffer shuffler. So handy piece of kit, The buffer shuffler, you've got all these different things you can use to manipulate audio and loops. I especially like to use like the dice function here, which will randomized stuff. You can revert, you can do all sorts. We'll go through what we're going to do. I'll show you the technique that I'm going to use though. We're going to use this percussion loop here, Switch it off for now. We're going to have both of them playing. But this one we're going to duplicate it out. Then in the second one, we're going to pitch it down. We're going to make some glitchy type effects, go down 12 semitones. That's the second, in the second loop, we sew the both of them together. And then we're coming into buffer shuffler. Just sew the one we're going to mess around. You've got these parts. You've got left, right, you've got to start our gate pitch. Shift up and pars left and right. Pretty self explanatory. This is the left hand side of the loop and then you get the right hand side audio of the loop and you can randomize the sound. So if you go to the left, let's randomize the left to the right. Then you get the starter. Let's go to the starter, let's dice. You get these glitchy type effects. Now you can go down left smooth function. We don't worry too much about them. But the main part here, you get the freeze function. Freezes, It's pretty cool. I think the dice is the main one for me, just for getting something creative out of it. So you get the gate as well, which will obviously affect the sound coming through. Let's again, we'll shift, let's put the other percussion, let's not touch the P in part. Let's keep it in this one Te again, can change the steps. Oh, with the pitch. The -24 marks 24. Try the different randoms. Same again, let's go to the reverse. Cool, Like that, that works really well with the percussion, and the buffer shuffler percussion work together. Cool. So it sounds like it changes every time we've listened to it. I like sort buffer shuffler really quick to come up with different ideas. I'll do another couple of videos. I think I'm going to experiment with this in like bass and melds and stuff as well. So you'll cut that in the course as well. So let's buffer suffer and creating like glitchy, percussive effects. 45. Buffer Bass: Folks, this is buffer Base. Using the buffer Shuffer and a base loop. This is a base loop that I've got just from my own sample puck. I'd like to see what I can do with buffer Shufferefn. Come up with something totally different. It sounds cool, but let's see what I can do with the buffer Shuffer'. Start an audio truck. Audio from fog. Want to record it? We go all results Pxlive buffer Shufferdrop on To start hitting random the car. I want to use the pitch function is pretty cool. Dice ships on the where. Let's go with that. So let's do eat it. We're going to cover that purple. Let's rename it Base. Let's just go through the loop now. Let's loop bar command L. I think by the time we got to the end here, I think that was the best part. Loop over 2 bars and pull stock marker back. Let's get some mover dry, like it. But you can see how quick and easy it is to come up with the ideas just by using the buffer, just hitting a few the random functions, recording audio, and then just looping out to find the base that you like. So enjoy that one folks, and they'll see you in the next. 46. Vocal Buffer: Folks last one on the buffer shuffler promise it's the Mardina vocal. Just to show you the best prometers I think to use when using the on a vocal sound. So we'll drop it on solo it and I've just got this al and watch speech. I've just singled out 2 bars of a certain phrase part which is like this. Distinct from doing. As distinct from doing is our fundamental self. As distinct from doing is our fundamental self. As distinct from doing is our fundamental self. So fine box wells, the starter effect if we just dice hit around them again as doing our fundamental fundamentals as we're going to set. And I'm going to record that because there's bits that we don't want, bits that we're like, let's just set records. So the pitch, the shift of the start, I think works really well. Let's go into the sound, the call as a fast, fast, fast, fast that part. Let's come on, let's duplicate it out, target a cross. And this one will crop it, right. Quick crop the volume. I'm going to take out that pastas as the as the As's start pitching it as one. We've got to play with what's coming into this one as he quite like that first come in here clip. I'm going to take that part out. This part make sound as doing, doing. Let's start coming in here. Do think I'll take that part as well. Come in here, as you can hear, you get some pretty cool rhythmic effects from it. I just thought I'll share that one, final one with the buffer just for the type of sounds to use on it, just to give you ideas. When you've got your own vocals, you want to try something different? Okay folks, I'll see in the next. 47. Adding Harmonics With Spectral Harm: Folks in this one is all about other than harmonics using mark for live spectral harm. So we've got this three to meldate, we're going to drop this on after the EQ, then we switch it on. Let's go to time and sync It can, here's just a delay unit. You get your left in your right. Same as like a normal delay. You get your timing in your sink. But then here what you can do is you can shift, shift it and you can also transpose it down. So you can put it down like 12 semitones on the left and keep it as it is in the right, which is pretty cool. So I want to add harmonics and different layers, octave layers to the sound. Transpose it -12 first, -12 in each. And then if I listen to it 100% we take a feedback down. A nice layer. We're going to get an order trot. We're going to record it, we'll just rename it -12 Command R arm the track. Audio from number 63, tone arm the track. And just hit record. Let's go for that. Let's drag it in. I want to take the start marker. The first trans ain't here. What we're going to do here is going to right click set 1.1 here, put that in, get out, and then we have over 8 bars. So we're just going to right click now. Let's sow the two of them together. Remember, come on the three tone, switch it off, hold down the command key and hit the solo. Just adds another layer. Let's get an overdrive reverb, we need to lay down the such shot went off. Go. Do you see where it adds to the sound? I think what I've done here is that we come over here and just have it in the first, sorry, it was offset because I started it forward. It was offset. On the notes, it sounded off. Let's do one more. So right click audio track coming into three tone. This time we're going to go down again, but we'll just go down five. So go to -17. -17 Now let's take a pitch shift and come down 3.5 Then go up 3.3 0.15 in the right, down 3.45 on the left for the different delay times n. Let's record it. Let's go re -17 and just arm it. Sorry. Audio from number six. Arm the track record. Same again. I think we're just going to do what we've done the last time. Pull it into the start here, right. Quick set. 1.1 I'll get in. And do over 8 bars. So then crop it and we'll take the start marker again over here and hit play. So the two of them, it's going into this and we'll switch there. We'll take that off because I'm not going to use that again. I think it's going to come back one more. Not let's go here. That's fine. That it was time number seven. Amless girl over drive. I want to try something here of let's recover these green light them both. Then the shift key. Click them both and then just put a sign, Traclorclipsn. We're just going to group them all up. Come on, I've got to think. All the frequency splitter, basically split up all the band. Frequency splitter. Drop it on, just listening to it. Does the sound cleaner for the highs they, I like the tone of this one. The -17 sounds really nice. So you go focus as other harmonics. I'll leave the frequency splitter in the description for you, so have fun with it. And that than harmonics. Marks for lives sp. 48. Fun Melodys With Bouncy Notes: Folks in this one is all about using bounty notes just to create like fun melodies that evolve over time. Then it's not very repetitive, it's quite random. But it's by using like the media effect that I've got the minor pentatonic scale here. From the media effect, I found it here. We've got a minor pentatonic That's just going to play the pentatonic scale, which is five notes. It's not going to sound you out of place. Now I've got the Midi clip. I've just got one 16th note hitting on the C three. Doesn't matter too much. I think it only matters when you're playing the through function. When you've got Midi information there, the through function here, that will play all the Midi notes plus the bouncy notes as well. But we're taking the through off and we'll just keep the bouncy notes playing. And I've got a sound here, it's in the corner in sharp minor, which is the key of the track. And then bouncy notes, I've set the bottom part from harmonic the scale harmonic C's the tonic note because we'll want it to hit for the starting 0.3, it hits the root, this sound here. Then I've got the range, which is the range of bouncy notes will play above. Just got to set the 12, it's one octave up and down. You can have it higher. It might sound pretty cool, but we'll just keep it at that for now. But we'll just press play and we'll just go through these parameters here on the left, there's a couple here as well I want to go through, but let's focus on this one and just demonstrate how the bouncy notes work. Let's solo it. Right now, we've not got nothing playing, because we need to set the gravity in the mass and the speed of the bouncy notes. We're also going to set, we shut up. See, the more you set the speed, let's go to mass. Turn the mass up and gravity pull the gravity down. That comes slower, put the speed down. Now let's go to the voices. Let's turn the voices up. Let's go for a bon a lifetime. This is the length of time that a ball will exist for, unless it stops. Bout then it's removed so you could have it over. So let's go for 1.5 notes, 1 bar. Let's go down, let's go to 1.5 Then this is the, the drop. So it's the amount of notes that are getting played. We go all the way up, balls get less 16 bars before another one's dropped, but we pull it back, we have it every eighth note. Velocity, velocity, mass. If you mess around with these, it's just a case of test. If you listen to the sound, how it affects the sound. Friction bounce, don't seem to be bouncing at all, they just hit then go straight through. We could randomize the direction, basically the bounce from one note to the next. It can randomly bounce left or right. Quantized it if you put it onto three. Music All over the place. Quantize seems to walk in a nicer melody. 16 notes. That means it randomly, all the notes of the bounce between one or two. So a cool, cool little melody. Let's try put the range up, let's go to 24. Get rever boning voices up, shiver and the hips cool. So you can just imagine you could record that the audio and you could perhaps loop out bits that you like, melds that you like and join them together. But I mean, to my ear I could hear that like progressing, it didn't really get too chaotic in a way. I mean, it slightly, I mean you could just adjust if you miss around with the speed, gravity, mass, and the amounts of balls that are getting through in the lifetime. And maybe just tightening that up a bit and not having it so chaotic. You could probably get something a lot more repetitive, different but repetitive. And it would work in a truck, so I'll firm with that. Folks, remember it doesn't stop there. In fact, before I go, let's just try doing something else. Let's get another sound in Now that we've set the parameters in the bouncy notes, rot that one. Great sound. You get the idea folks. I'll fun with it and I'll see the next. 49. Device Explorer: Folks, just a quick one. This is using marks for low device, it's basically a randoouse function you can into this part here, this track, we've got the hybrid reverb here, number 12, which is a melody on the last lesson. Then if you go to the device, just pick the hebridverb, which is this here. Then you got this random mouse function here. We can randomize all the different parameters inside the hebrid reverb, and it gives off some really nice just different tones to the melody. And how it sits in the mix is pretty cool. If you listen to it, keep it in random. A cool se can margin. You're in session, you want to record something into arranging. So you can start arranging, you could record this out, record the bell dated change every like eight or 16 bars. Pretty cool. It's quite a nice effect. There's a sweeping effect there from the reverb and then it cuts off when it comes into the next part. Then you can order in some shakers or some percussion. Just thought I'd share that with you. It's pretty cool. So we'll have fun folks and we'll see in the next. 50. Euclidean Granulator: On focus. This is all about using granulator two inside a drum rock in the Euclidean sequencer. I just made this one up just now messing around with things. I thought we would share it and I've just saved the settings that I've got already. And I'll just go through each part. We'll just show you what I've done. I've already went through the Euclidean sequencer. If you go back to the eluding percussion tutorial, you'll find it there. I'll just quickly show you how to set up the drum rock. If you get a Midi track, then if you grab granulator two, all results just drop it on the track. When you've got granulator on there, you just right click, group the drum rock. Then all I did was chord. Sound Just a chord stab. Any chord stab, you go for that one, just drop it in. Once you've got that in, just hold down the option key, copy granulator across the, copy it across again, and actually get the three set up inside the drum rock. Go through my drum rock now, and just show you what I've done in there. Commit the drum rock. I've got everything set up in the Euclid and the steps, the events and rotation for each one. The bottom one. Let's single it out. That's Sound here, just a chord stab. I've got the starting point over here. You can move it. I pull the sustained right down. I've got the decay pulled right back. Then the filter dial back, the 258, the grain, so the grains at 2.43 that's a normal sound file position as you can see. It's at the end. Then the spray 36, that's all done for that sound. Then it's on the Euclid eight steps and it's got four events, it's quite a funky groove. But then other in the second one, so we switch it on its over 12 steps, it's got seven hits the same side at this time. Same in the sustained pull slightly back then other M just 5.69 it's 7.6 in the frequency filter, pull back slightly at 7.37 Filter marked that, we'll go through in a second file position near the other. Pretty much the same as the other one slightly back. The final is over 12 steps. Same amount of events but a different rotation. It's just offset from the other one you could see. So we committed to this one. Start our positions over here, the grains at five. The FM filter, we took the FM off slightly em filter 1.24 Let's here in the truck, write the cool thing about this is, so I've putting back on the ground of the second one, I've marked the grain of this one on here, so we listen to the sound, just mess around with that grain. You can record automation and stuff and you can map other parameters such as the spray the FM saving the frequency. This one also pitched that last one. Sorry, I pitched that down 12 semitones. I forgot to mention that so you can see you get some pretty funky results. So that just by tweaking the grain *****, granulator told the Euclidean sequencer. So like I said, once you've got everything set up, I mean I've got that one sound in there, it doesn't have to be the same sound. What they throw out as well is if you just got threw your sample library, just start dropping in random sounds into the granulator. Once you've got to set up, once you've got all these parameters set up like the decay least and all the rest of it, the FM, the pitch, you think all the sounds work can sit nicely together. Thy finding other sounds, maybe not so much different, slightly similar in the frequency range, and just drop them in and just listen to the different tones that it gives off. You can get some pretty interesting sounds like unique melt, like little rifts and stuff. So hope that makes sense folks, and I'll see in the next one. 51. Instant Alex Percussion Loops: So one final one I wanted to show you in the marker live Ideas is the Instant House By Asked. And I want to show you how just how you can get quick Gk percussion groove layers. Let's go to sample parks. I usually try and take like three loops from the same sample park, so they can go well together. They're made by the same person. It doesn't have to be, but I mean, it works pretty well most of the time. But I'm going to grab this Congo loop, I'm going to put it in a slice mode. I want to turn the kick off for this because we're not using a kick, we're just using the snare hearts and perk on the X a kid here. So basically what it is is a random generator, but it generates grooves. You can do this with drum rocks, with one shots, et cetera. You just hit random the buttons here. You've got part note, swing shift lost. You can randomize everything in it to set it back to the default, the default setting. I've got that Slice mode. Let's group it, Come on G. Open it up, so we've got the part here. So we're going to lay it up with another couple of sounds and then we're going to record it. Just listen to how it sounds. Just with that loop. Try a different pattern by moving the start marker. We're down. So this is a loop P. Now we've got our own version. Let's keep it that one. Let's get another loop. Describe that one. Drop it in, see again, slice board. Let's get like a higher Sound one shot. Try this one. Drop a, go on, and now we can just change your part for that one D. I don't like that. You get the idea. So then you would just right click, insert audio, track audio from 16, set it on an hour, two off, and then just record. And then just you get your on your own percussion loop, get rid of that. And then so you go, Folks at Incident House by Alex Kd. Just creating your own random percussion looks. 52. MODULATOR IDEAS : Envelope Follower 1 (Melodic): Back folks. And this one is all about Marx. For Live's envelope follower, the first thing you're going to do is go into all the effects, go to modulators and just drop the envelope follower on the percussion loop groove that you'd like to follow the solo it. Now I think the best practice here is if you grab yourself an instrument and get your operator, just drop it on. And if we come into that percussion loop, it's a low tone playing here like D sharp, so we'll just go into operator D sharp. And let's just hit the gatto. Let's pitch it down. Let's make a base out, let's go down to D one. So now let's get a sustained sound in order for this to work, make sure the sustains right up don't have it down, because this could be playing the note right through. You need the filter to open up sharp and close sharp. If you commit the clip, select the Map button on the envelope follower that's on the percussion loop. And commit the operator just map it to the frequency. If we play with the gain button, then the fall and here that base layer up the oxyalpercussion itself. So if we change the wave form, pitching it up, let's keep it in D one. So let's take it a step further. Let's duplicate it out and let's the one, look up seven semitones, 1234567. It's up the share. If we come in here, what we want to do now is we open up this box, hit the mark paton again, and come on to the second operator and mark the filter frequency in press play. Let's add some different harmonics in the other oscillators. Let's get different wave forms is a spread. Thank you. You can go here as well. Back into there, map again. Just keep mapping. What this box does is here, it gives you more options to map the same envelope, the different parameters. So we can map it to the reverb here in the second, the second operator. Let's take it another step further. Let's change the notes. Let's pull that in duplicate. In fact, let's keep it the way it was, and then we'll duplicate it out. And this one, we'll bunch up the C sharp. Let's duplicate it out one more time, and then this time pull that in. Let's pull this one out. Let's put this one up here so we can back here. And this time let's mark up the third oscillator on the second operator. Let's pitch him up and knock Dave holding the shift key, bunch it up. It's got a echo. Drop it on, you get the idea. You take the percussion loop, you've got the groove. And you can just get all these sounds intertwined between each other, that march the same groove and march the same pattern. It just takes a bit of practice and about getting used to, but you could use other loops like sustained loops as well, where you could just open up and close the filter and sustained loops and have them come in layer layer in the percussion for example, we could put in, let's get a pard Sound. Let's take this one now. Let's audio effects. Let's get an auto filter. Drop the auto filter on the pad. Go back to percussion loop. Now, map the frequency in the filter cutoff so you get the idea. Now that's another bit of interest to the sound, and you could just go on forever here and just start doing different patterns. Do different key changes on the Midi notes. Even try getting a sequencer in. And just try using a sequencer to generate different patterns as well. 53. Envelope Follower 2 (Movement FX): Focus. This one is all about creating dynamic effects using the Max for live envelope follower. I've got this part Sound here. The part itself has got some movement on it already. But what I mean by dynamic effect is, I mean using the volume amplitude, the envelope, as it opens up and gets stronger, we can make the effects get stronger with it as it goes over time and then dies off. The effects come in stronger and then they just die off over time in the shape of the envelope. You can do that on the part itself. So what they got to do first is if you go to modulator, get an envelope follower, drop it on. Let's set the gain right first, around ten DB is fine. So if we just start grabbing any effects, let's just go for a delay. First, let's get the echo on the throw wet to open up. We'll set the ping pong, Let's put the feedback so we've got a nice space effect around 80% We're just going to map the dry wet and it's going to open up as the volume gets lighter on the pad feed, back up output down on top of that. Let's get something else. Let's go grain delay. Let's drop the grain delay on. We'll put the pitch up to 12. But let's put the grain delay before there what it sounds. And we'll just crank around 50% Se again. Do the dry, wet, Do this, you come the box, same envelope, you've got 12345678, different mapping options to mark the same envelope. Two, so we'll just map it to the driveway in the grain Dewayut Three, you pull the gain down slightly after the fall. Then let's try getting pitch more. Let's get an auto Ppt. We'll do the right down, so it sweeps from left to right. Then you'll hear it move as it goes up. We'll automate the amount. Same again, amount. Now let's do the reverb. A long reverb can bark in here. Map reverb on here in the sand is a ponga. Ponga. That's better. You can hear that pitch. If you pull the pitch down to minus five, you can hear it sweep from left to right. If you listen to it so you get a picture, you just, let's group them all up. Come on, highlight them all. Come on, let's switch it off. Start it in a tone. Now we've added some effects. You go those dynamic effects using the envelope follower. Just experiment as many different effects as you can find that pitch on the granulawork. A three when it came using Autopod as well, you can just hear it sweep from left. And it just sounds like it's different layers and not just the one part Sound And you've created like your own unique layers getting split up by the different effects. How far are that one folks? And I'll see in the next lesson. 54. Envelope Follower 3 (Dynamic Transitions): This one is all about dynamic transition effects. Basically, this is the same idea as automation, except it saves you drawing in the automation itself. You can go by the shape of the volume envelope and just add effects on at the end and map them to the envelope follower. For this example, I've got a white noise, let's switch these effects of the white noise effect. Basically just a white noise sweeping up. But you might want to add some movement to that, you could use the envelope follower I've mapped to turn the auto par in an LFO. I've mapped it to the rate I've turned a mount right up, phase is at zero. From 180, just pull it down to zero, now it acts as an LFO. Then I've got the reverb, which I've grouped in an audio effect, and it's now got the two chains on dry, one wet. Basically the volume of the reverb is marked to the envelope follower. If you listen to that effect now you'll hear it sweep up, you can hear the reverb. It's got a long, quite a long decay time. We take that processing off. Turning the fuse up, you'll hear the reverb, can I fill out the space? And it dies off with the sound of the envelope Sound Which is pretty cool. It's not like a long tail. The volume of the reverb comes down with the envelope in the context of a track. Get the idea that's dynamic. Transitions again, just try with any effects that come to mind. You can just create, can get like a noise sweep. And by using vote follower you can other effects to it And make it more intense By rising up the effects and just having it cut out the drop when your next elements. Joy folks. 55. LFO Drum Movement: Folks that this one's all about adding movement on drums with LFO. I've just created pattern here. It's just using the 88 core Kt. So we'll just do two or three little changes, just subtle changes to certain drum elements just to give you an idea of what you can do here. Because sometimes you build a groove and you think that's locking something, but just adding the LFO to certain different parameters can really enhance overall feel of the groove. So let's start with, let's go to the open hut. Now what I think works pretty cool on this is if let's go to modulators getting elephoe, drop it on the open heart. We're going to map the decay, but we don't want to open up so much. We'll put the depth offset, we can tweak the offset, but we'll want to change it to random. It's just going to jump the depth around 10% offset. Just subtle little changes to the heart. Listen to it. The groove as something different just gives it a element of our Garnet kind of feel the drum. Let's throw something we've got here. Let's automate the allophone on farts. Put it on the clap. Let's map the reverb now again, depth. Let's open up the Cort. Let's come to this part here. Let's go to the reverb, open it up, the chaos, pull the K back now, Clay's office, get it back on. We could do something like come on the club, we could do something like the paring maybe. Let's, we've got an elephonedpo club and then we're just going to random map. It's again, right down. It's just going to jump. Just jump too drastic, right? Maybe we'll do it if we come into the clap, that one's going to the chain, right? Okay. That one's going to the Cp. So we come into this one, we can map the same epatternloverb, so you get the idea that just mark different parameters as a subtle little movements here and there and the different Rm sounds and it can really make a big difference like a static sounding can a drum pattern that you've got. Again, practicing these techniques over time can really enhance your creativity. 56. Crazy LFO Mapping: All folks, this one's all about using a number of LFO devices and map them at different parameters just to create some crazy sounds and you'll find your own unique kind of patterns. We've got the sound here doesn't do much at all. Sometimes what I'll do is I'll just go to town on it 'Lo modulators get one in. What we're going to do is we're just going to duplicate it out. We'll do the filter 1234, we'll do five. Just map the L' right down the phaser, different type of one and that map the tune depth down a bit of string. We'll do a random as well, the space, we'll do that random change rate, slightly something like that. It doesn't have to be certain setting, it's five of them sets. So we've now got something completely different. One other thing I'd like to do is I'll grab an EQ, then another two, Then I'll just pick one of these bell curves. Map frequency, pull it down so it's going quite slow. Offset, keep it around the map again, it's a different depth, around 50% What happens is it just sweeps through and it just adds other interesting sounds to what it will get as well. Get a limit, drop it on, it just protects the ears. Now, next part do is just root audio from number two. Turn it off, arm the truck. We'll just group all these elepho, we can just get an B, the difference. Let's just hit record and will create some audio or speed on after this point. So I've recorded, I've got like 41 bars that are worth of audio. So as always, just get through the resurcled sound. If we just pick out, we'll just find a little part if you like, it's got to overdrive on it. That's pretty cool. You start markers, so just keep one. We want the next bars and bars and bars and bears, bears and bars. So you see get some really nice, interesting textures just by getting the L and just go crazy with it every and just record to audio and go through the sounds, pick out all the little textures. Hope that helps folks and have fun with it, and I'll see in the next. 57. Shaper MIDI Bass: Now getting on folks, this is all about able and shape our mid, how you can use it to manipulate certain parameters and sounds, audio effects as well. But we're going to use it able operator just to create some baselines. Let's get an operator on this one here. And we're going to go into the Midi effects and we'll get shape D on. Now what shape our media is is basically an envelope follower. Whatever parameter you set. I map this to the filter frequency on the operator. We've got a note here, let's put a note on one. Let's hit legato. So basically the note, it's open, the filter is open, and then it closes over. The rate is now a quarter, so we put it up to one. That means the envelope open at the start of the bar, then close gradually over 1 bar. That's your right here. So keep it in 1 bar just to keep it simple. Now you've got these other partons here, you can change the shape of the envelope. Do the right again. You see us basically playing the 5163. Now we could hit loop, so then it'll play it over 516, but keep looping it over that 1 bar that we've got to set here. Come in the operator again, come in here, hit the loop function. Quite like it. The three eighths. Let's change the envelope. 64. We could change the amount that's opened up in the envelope by using 100% here. If you dial it, bark, it won't open up so much. Let's take the course down. Let's take it down, 0, nice. Now, if you come an operator, we can add notes here and there. Let's see how that sounds. Let's try other, in some more harmonics in the second oscillator square. Now if we come into this little box here, you can map other parameters anywhere you want in the live set. So let's map the third oscillator to go with the envelope. To open up and close like the envelope. And if we change that, let's throw, throw, throw on open. Turn a course up, envelope up Also, let's boost it up by using this function here. You can have it open. Let's change, let's change the oscillators. It's better. Now, they're all stalked up. Now they're all playing on top of each other, rather than one being modulated by the next. You can hear that one. Let's one more thing, let's do the end. Why not? It's a reverb, so we couldn't the reverb booster it up 5 decibels just before the reverb kicks in. 2.5 de C. And then I've just rolled off any low end information around 140 hertz Barking operator, let's solo are a bit atmosphere you get the smooth function, listen to. Well that does the sound, it just makes it less rigid. Now mess around the different, the different algorithms. I like it where it was. Then you can go on and just map. Anything else you can maybe mark the spread, the Kottwn. You get the idea. Just get created. It's got all these options here for you to get created with the envelopes. Remember, it doesn't have to be that same envelope. You could duplicate the shape. Or my outcreate another envelope to do a different pattern on a different parameter. Okay folks, I'll the 58. Shaper Chord Stabs: Folks, this one's all about using Ableton Shaper. Exact same as a Midi shaper, except you can use it in audio trucks. If you go to audio effects, if we go to modulators, you'll find it in here to shape here in the same idea as a mide one. The envelope. I've explained all that previously. I just want to demonstrate how you can use it to take like pad loops, for example. This one, it's got a core progression over 8 bars. What we're going to do is just create like snippets, hits of each chord over a certain period of time. Just show you how creative you can get with it by using loops, et cetera. So I've got part sound here, it's a minor. What we're going to do is we're going to get the shape, we get the rate, we'll go to two. And we're going to put the grid all the way up to 16. Now if we get utility to lit utility effect, drop it on. We want to group it. Hit command because the reason we're grouping it is because we want to map the gain to marker one so we can have control over how low the volume goes in the game. Because it can go up to plus 35. And we don't want, ma', just blow your head off. If you go to Mark and just change that to zero for the Marks. Hit map again now Just goes up to zero and down to zero. Let's map it to the game. We're going to come in the middle here and we're just going to create a shape for just to open if you listen to that, cool. Now let's get some effects on it. Let's go to the delay. Get the echo, drop it on, feed back up. Put some reverb on it as well, I think Pong, let's go to 50. Just under 50. There you go. It's pretty cool. So you can take it one step further. Let's duplicate it out again. Then on this one, let's pitch it up seven semitones. Put it into complex mode. Embark in here. We've got the shape, but we'll do, this time we'll do the opposite. It sweeps up, let's get the effect hold in the. So now it's going to sweep up in a different, it's the same sample, but it's going to sweep up into the head giving it almost a Q and A type type effect. So we're listen to that, take the echo off rebar so you get the idea. Just taking that sound and just creating something totally different with it. Just by using the shaper and then just reverse on the envelopes. Got Max sends folks how fun it. Remember throw out different sounds. You can always have a different sound. Reversion to that sound. Just endless possibilities. So just be creative and explore. Okay, folks seeing the next one. 59. Shaper Perc: Folks, just a quick one with the shaper. And this one is all about just taking out we have in the loop here and just adding like a percussive, almost like groove layer. Using the middy shaper. Again, again, it's just about getting creative with it. We're going to take this loop, we're going to copy it across on this audio track. We'll just cover it like a green color. What we're going to do is we're going to pitch it down 12 semitones, a complex mode. We'll just pull it across in a different start marker. It sounds like this, but we're going to beat mode trans to one arrow. Just pull it in. Let's go to the loop itself. I'll do, let's just pull on the EQ. So if we go to the all the effects in modulators, we'll get the shape, then we'll get a utility drop. The utility same again, we're going to group it. Then right click again, map the macro one. Go to the map function again, just put it to zero just to protect the ears. The map again. Then pull it down. We're going to map the volume once again. But this time we're going to do it, let's do it over 2 bars, let's go to eight on the grid and pull it across. Push it right up. Let's hear that. Sounds Got you could change the right. You could have quicker to change the envelope to get some more of that sounds through. Go. Let's get a re back, drop it on the end I want to pull. Let's get rid of that. Let's put the wall in here. Size around 35. I quite like it in the two, right? And then just take it back to here. Let's try a pitch modulation on it. In fact, let's get a chorus. That's what the chorus sounds like. So you can imagine just duplicating that out and just doing some more, get some more sounds in there. And then just adding little sporadic hits here and there. And you can really enhance our groove just by othering these little subtle changes and these subtle hits from different loops to just jelling the groove. And just give you something different to work with. Hope that makes sense folks, and I'll see in the next one. 60. Envelope Follower (Audio Effects): So this one's all about using envelope follower on effect just enhance like maybe a percussion loop or it could be a melody loop. It doesn't have to be a percussion loop. But for this tutorial we're going to use a percussion loop. So we're just going to drop in an envelope follower onto the drum loop, which is this here. We're just, let's start off with, we'll get an over drive, drop it onto the percussion, switch it off, but we've just get this. If you come in the drum loop and we're going to press the map pattern, come in the percussion and just mark the drive we want to mess around the filter so we're not affecting the low end, we're just affecting a certain part of the percussion loop itself. So let's just mess around with this filter here. If you come into the gain batting here, you can turn it up. So it's getting more of a push on the drive. Right now it's open up just 50, but if you've got a larger gain in the sound in the envelope, it'll push it up. Even more extreme, pull it down it here. I've used the fall baton that determines how long it's going to open and close. So if it's right down to zero, I'll just open and quickly shut. But I've used the fall baton a little later, Fox, that it gives off. It is pretty cool now, let's grab, let's get an erosion, and let's come back at the drum loop and we'll get another envelope follow. This time we're going to affect a different part. Come into the drum loop and hit Map. We're going to map the amount. Then we're going to put the wide Noise and pull the width up again. Let's put it up again if you come in the drum loop, and then if you use the delay function here, you turn it to note. What happens is it doesn't kick in until you've got 32, not 16th note and eighth note. Let's put it to 16th. Let's go to eighth. Let's take them off. This adds like a cool layer that just kind of fills out the space. So let's do one more. Let's go to the delay. Let's go to the echo. Drop the echo on, let's pull it right down to 64 notes. Let's go to the filter filter in. Open it up at the top I go, let's get another, another envot follower, drop it on. Then we're going to map the dry wet, a change of the time stereo. Let's get one more on and put that out up just for fun. Let's get the eh, it on and we're going to map filter. Put the depth down set. Absolutely. Let's beat the right down. You get the idea. Just mapping different parameters or effects using the shape of the drum loop. It doesn't have to be the drum loop. You can map it to like a melody melde pattern, have the melody pattern affecting how the effects open up and close. But just experiment with that, folks, thriting all different kinds of kinds of effects like reverb as well. You can map that as well. I'll just use the L here to add movement to the filter as well. But what's the envelope follow? I'll fun with experiment and I'll see in the next one. 61. Envelope Follower (Vocal Automation): My folks in this one's all about automating a vocal one shot. That's getting triggered by the envelope follower just to create like a nice layer on top of a chord. Again, as always, this doesn't have to be a vocal one shot. This could be something else. Could be a synth star, could be anything. Let's just show you what I mean by this. We've got the chords, just an eight bar pattern, and what I want to do is put a vocal one shot on top of the cord. I've got this vocal here, and it's just a one shot and it's grouped into a drum rock. Now if we listen to them together, a reverb sounds pretty cool. But I mean, for variation when it comes to arrange of throat, you could do something like this. We could just grab an envelope forward, drop it on the chords, and if you map the frequency. So I was going to open up the shape of the cord. We turn up the gains right way, but we are just the fall a bit more than the fall. Then you could adjust the delay time for we're going to start, so you could push it all the way up to one. Let's try that. Let's try getting an E. It's all right on, let's change it. Let's put it to eighth notes. Just play eighth. Eighth note. After the chords, you could be writing a truck. We could come into the chords. Let's open up the clip now. Let's click on the delay time. We come in here and then go to unlinked and we're going to make it 16 bars. For 8 bars, it's going to an eighth note, Foxbo could put it all the way up to one for the first, the first 8 bars that could play the one and then the second 16 bars that could play the eighth note share. For some firms we don't even have to have the chords, we could just be using that as a trigger. So it's just a cool way to get creative just using the act trigger of the notes inside the clip. Remember we don't have to have it playing but we'll have it playing there. It sounded nice together. And then you could just automate the different delay times. 62. PAD/TEXTURE IDEAS : Stretch Drone: Folks, so I want to quickly show you this one. The stretched throne. You can't transform yourself. This is a good one for creating like throne textures where you just find a part of a vocal sample, you can't transform yourself. We'll just take that first part there band. We'll just delete that. I'm going to pull it in a bit. Pull it across, just do it over a bar. Just command if you come in, the algorithms to select complex pro and we're going to times it by two and just keep doing it until it comes up at the bottom here, limit reached. There's a way around this where you can go up a couple of steps further. If you right click, select three, then flat on the track. What happens is it resets the algorithm. So same again, complex, that marks it out in 960. Again, throw it out. Let's go free, struck, right click flat. I'll do it one more time. Complex. Let's freeze struck flat truck. We've got this first part, let's drag it in. Slooped over 33 bars, set, command data consolidated. Go again the Complex Pro, and this time I'll pitch it down two octaves. A deep industrial tech drone. You can mess around with the different algorithms. Texture, try tones, the Beats, complex, complex Pro. Now if we open up an audio truck, audio one that's arm a switch off into auto, becoming a compressor. Audio effects. Let's get dynamics. Let's get brute compression. Drop it on. Just watch what this does to the sound. So we hit record. It just pushes up all those lower frequencies and you get some really interesting artifacts and sounds from it. Let's delete that. I've got the compressor on it. Let's get reverb. If you type in Throned, thrown a cave, drop it on dry part 60, nice. So it's right. Quick three struck, let's flatten it. You get yourself a throwing sample, like a drawn out throwing sound. Be good for like an intro or maybe you make ambient music. A lot of these throwing type textures sitting in the tracks. A quick technique on how to create throwing textures from vocal samples. 63. Bell Pads: Folks of this one is all about bell pads. I'm just creating your own pad textures from a bell sample. Doesn't have to be the samples, could be any sample you like. I've got this sound here if you insert a mid truck draw sound on the mid truck, right click convert simpler sampler. If we just come in and draw a four bar clip, command shift and M. Then click and C three and hit goto switch up one off and out. And let's hear the three color at a green color. Let's hear what happens now. Just plays out the sound and nothing happens. Sampler, you've got this section here where you can loop at certain part of the sample. So if you hit the loop function, the start marker in the get in the loop, Let's hear what it sounds like now. Then you've got this part here, the cross, basically it's like a blinder. So just blends in the sound, get rid of any pops and clicks that you might have in the sample. That's one way of doing it. You could runber that. I want to take it a step further and I want to command G and group it. Open this up and we're going to duplicate it out in this Sound. We're going to go up to four. Then we're going to move the loop. Perfect. One more time. Duplicate it out, this time we'll go to see to change the length of the loop. Now you've got your own evolving type pad. Sound Let's do a bit of a process and let's come into that one. The second one, over drive, drop the overdrive on, get an overdrive in the third one, I'll just boost the higher frequencies, remember, and drop it onto the show. The sample itself, don't drop at the end or else it will affect every single one. You just want to affect each individual individual hits. From there you can adjust the volumes, just adjust the taste. You find that the sounds work sound nice together. T's one more step, we'll do auto filter. We'll do an auto pan. Come in the pitch, grab an auto pan and we'll drop it on the second one. Leave the rate at one. Now if you crank the amount up, slow it, put it right up. We'll just here how it swings from left to right. Let's pull it back, line 55. Hold down the option key and copy this auto pan on the third one. Sow them both, you've get this button here. And the third one, it's a normal, you hit invert, meaning these two will now go inside of each other, so they won't do the exact same effect as what we've got in that one. This one will be inverted. So when this one goes up, this one goes down. Let's get a reverb, let's get decay up. Seconds throw about 70% let's get a compressor on the on side, chain it from this one I have here. It's got a kick on it. So we'll play that in a second. Last thing I'll be Q just to clean it up, you go a nice little pard sound. So we went from this, we take out the other two, that's the one, it's quite thin, then we just add these layers so you go just a little creative technique for you to create pard sounds from bells. 64. Vocal Pads 1: Folks, this is creating parts using vocals. And I'm just going to carry on from the last lesson. Just show you how super easy it is and quick to come up with these type of parts. I found a sample I liked, so I just dragged it, drop it onto the top one. If we solo it and hit play, we'll switch these off and just have the first one playing the rever back. Just get the sample again, throw it on the second one, get the third one. As you can see it, just super quick just by dropping samples in. Remember, you can save this rock then whenever you want to start like a fresh truck or you want to start with something new, just use this rock and drop in different samples. You can actually try drop in different vocal samples and just have them playing over each other and inside of each other. And it will spark some inspiration for you in your 65. Vocal Pads 2 (Stutter Pads): Folks of this one is all about starter pads. So we've got the vocal pad from the previous one. What we're going to do is we're just going to right click, insert audio Track A from number four instrument rack, just the arm, the track, see the audio information is coming through. We do it over 8 bars and we're just going to record in the audio information from the pads. Let's highlight that. 8 bars command J. Consolidate it. Let's so this one let's come in, let's come in the audio file. Now if you go to this part here, the Beats keep it in. Beats go to preserve the translates part and change it to 16th notes and put it to one arrow. Now watch what happens when we dial bark in the value. Now let's get an overdrive. Maybe get a glue compressor just to tame those trans. I like the setting around there. For the overdrive. I'll be coming in to the sound and let's bump it up. 12. Get yourself another layer. The top of the pad Sound that you heard before. Back at the sound. Copy the EQ across, get some Bree or Born out. Pull Barton the drive so that you go focus to create starter effects using the algorithms inside Eclipse. 66. Resonator Pads: Folks. And this is the resonator pads. This is creating textures using Ableen's resonator. What I've done is created an audio effect rock and I've got to ascend. Let's just quickly three what I've got, I've got the Berlin preset the resonator, and I've mapped the note, the decay in the frequency to the rock, so we can automate these parameters when coming up with a different textures and sounds. Then I've got the OTT multi bonds dynamic, just to push that sound some more. I've got a reverb 100% wet, 10 seconds, the K time, and then we've got like an echo at the end with a high feedback at 80, 100% wet setting ping pong, and just a limit just to protect the ears. So what I want to show you is how you can create like interesting textures to kind of have sitting back in the mix. You can get different harmonics from using the resonator and doing the different keys. So this is the bell sound at we had let's crank up the send from the resonator resonator pads. We'll just put it up to 100% And if we come into come into the automation lane here. Now what I've done is it's on two clicked up. We come onto this here, open up automation lane on the send, then I've automated the note of two to change on that second bell pad. We see here two I've automated. Come on two. It starts in the, the resonator changes to. Now just listen to the harmonics and the tail of this sound here and you'll get the idea. We'll just play Chronicle all the way up 100% on. If you do that here, just hit play really nice. It's almost like a choir effect emerge this in a truck scenario where you've got other spira that hits in your truck and you can use it in any type of sounds you like. This one. I've got a clap and then almost like a bongo hit if we crank it up and then listen, same again. I've changed the key. I've done, I've rooted an audio truck from the send created audio truck audio from Resonate parts at arm the trucks and now I was just getting the wet signal from the send. If we just hit record, the percussion hits and if we hit record. So just delete that audio track with the hearts in it. And then now we've got this sound here that we can have sitting in the back. So now we've got this extra sounds to play with us. Turn on the bells. Just really good for atmospheric textures to have sitting in the back of your truck just by using Ableton's Resonator with a few audio effects and Ascend, and then recording just the send to your audio truck. Then you've got more audio to play with and manipulate when it comes to writing your trucks. 67. Feedback Loop Textures: Get on folks. This is creating texture sounds using feedback loops. What is feedback loops? Well, basically this is where you send a send bucking in itself. For example, I've got the sound here and if we crank up the send and send a, it's picking up the sound, that's a send. Basically what we want to do is we want to take that sound and then send it into the delay, which is then going to send it barking itself. How do you do that? You've got the option at the bottom here where you've got the actual sends. It can be turned on to be able to send the barking themselves. Click. Just disable it if you right click and just enable send. And s now we've got the sound getting father into send A, which we're then going to send the reverb sound into B which has got the delay on it. Press play. Just start turning it up. First thing I think we'll do is though, we'll get a limit just on that reverb just in case, just to protect the ears. Now as you can see now I've cracked up, send B, it's taking the reverb, it's coming through on this send, and sending it into the send here, You can see here, now we're going to send it, Barker itself. This is now going to get sent through the send delay and get delayed again. As you can hear, you have to be very careful over at the send. I've got a limitter on it, it's got to compress and it's got a delay ping pong, 66% feedback. Basically, we could just start thing effects and stuff on it and we could just start creating like an audio clip. We can mess around with this set button here just to control the amount that's getting put through as we're recording. Let's pull it back down for now. Right click, insert Audio track. And I'm going to say audio from the way Compress. We're going to set the more our auto arm. Yeah, that's coming through. So let's just get some effect on it. I mean, you could throw out anything you like here. Let's throw, let's get a pitch. The pitch chalk. Let's throw the pitch chalk in. Let's try that one before the delay. Now, let's just start recording and we'll just mess around with these different parameters. One more thing because we've got to reverb. It sounds pretty nice. And the end of that 100% Okay, time up. Take these off. I'm just get the order track which is set up. I'll just hit record. So now we've got this audio that you can mess around with. All these different textures and sounds like drone type sounds would be pretty cool. Let's take all the signs off. Turn them right back down. That one up you come in here, that's part here will be nice. Then we go to the complex. Let's try putting it down. You can tell, you can just hear that tones and it sounds familiar because it's coming from that sound. It's already in there. It just goes well with the truck because it's came from a sound source that's within the truck of Mx sent. So that was just a brief demonstration of how to go about it, how to record it like the possibilities are endless. Here is always, you can just add whichever effect you like in here. Always remember to have a limiter at the end to protect your ears. And just be wary of how you're pushing the send button up. You can hear it getting louder. Just dial it back slightly and just mess around with that as you're recording in the audio and you'll just get different soundscapes for your tracks. Okay folks, I'll come with it and I'll see the next one. 68. FX IDEAS : Instrument Rack Attack: On focus is creating ear condi using instrument rocks. Let's right click, insert a Midi track and we're going to go to instruments. We're going to grab that one, drop A. We're just going to group it. If we open up, come on, group it. Clicking the whole rock. Come on. We open up this section here. We've now got the chain. We're going to get another 12. Let's go for that one. Sounds work really well. We've now got three of them. Let's duplicate that one, and we'll duplicate that one. Why not? Then we got the two different versions. We've got two here. One is in default, then this one, let's change it to far away, Same sound, but different versions. Same with this one. Let's randomize the rock. We've now got two different versions. Let's put the frequency up though so we can hear it, okay. And then that one will keep as it is. If you highlight the top one, highlight a bottom open up the chain, now they're all selected. And if you drag it right out, click distribute ranges equally. Now we've got the chain selector here. What you want to do with that is right click map the macro one. It's now here going into audio effects, Get the yellow, drop it in, then we're going to map the chain selector, but we're going to change it to random, it's just going to jump randomly between the different effects hits. I find this pretty cool. For when it comes to a the nar condit, I'll just like how you can get sounds. Just sit in the bark and just keep our section of the truck interesting. We're going to the sound. Going to the mid clip. I've created a midi clip here. We're just going to go into the mid clip. Let it play through. And just hitting, random, random hits. So we'll start one in the start of C three or something like that. Turn it down. An echo you get the idea. Just has a bit of interest in your, in your truck. Sometimes, I mean, sometimes I've seen a section of a truck and I go and reach and try and find a scent flute. Or try and find something that's going to work. Get a sound, try writing middy patterns, et cetera. But just by doing this, you can move on from a section. And I'll just stretch out the truck for another section and save you hunting for something that's going to fit. And I find these, these effects, sounds work really well. And you've got tons to pick with us just like you've operator. But if you go into all the other different ones you've got so much other ones to choose from I'll just at a bit of interest de truck. 69. White Analog FX: Folks, this is creating your own white noise effects using Able analog. I've got push set up. This is good to do it in your Midi controller. If you've got a, a step sequence in your Midi controller, I'm using push and repeat function. I've got analog here. Let's just pressing down in my push. But if you switch off the oscillators and just have the noise turn the color right up. White noise what we want to do is we want to keep fully open, full sustain the P. And then in the envelope, filter envelope, I want to bring it down and become like a plucky sound. If we turn a frequency down on the analog, listen to the sound now super quick and easy. I've just added some over drive, just basing that higher part. And then we've got a bit of reverb then I've just Eqed's scooping out. The idea here is just to build a bit attention and add some white noise energy at the truck. Just some more. Your condi, we'll add some Spra that hits and then rise up at the end here to drop in another section. So we're just going to hip record and we're going to record it and then maybe do some automation after that just to give you an idea hip record. So I'll just automate the filter cut off to open up so you get the idea. And then you could automate these parameters here, for example, I've got the filter frequency. You can have it starting quite low. And then if you recorded, if we hit that function, make sure the clash of these two are always. Make sure these two here are enabled so it doesn't record over the mid clip so you get the idea. It's just cool a few weeks yet. To do that you'd have to do some EQ. Maybe set the decay time on the envelope and the Arp envelope, but you get the idea. It's quite a cool, cool technique to know just to add some white noise energy at your trucks. And also helps you get a better understanding, of course, sound design as well inside the Anologu, just using the white noise effect. 70. Rhythmic Glitch FX: Folks, and this is all about glitch rhythmic effects. We're going to duplicate analog out from the white noise. We're just going to drag it over here. We'll just use this part here. Let's loop it. Let's slow it, let's, let's pull sustaining down the k in that's, let's go up a few effects. Let's get a re du, let's go to vintage salt. Berropmt'slet's go for a grain delay. Just get a preset. I've tried many of these. Let's go for the rubber band. Rubber hand, is it rubber band? Another funky one is we go to Echo and go to Modulator delay. Go to Licorice Whip. Let me try a gate as well. Let's try a gate dynamics, flip side, drop it in here. Now we insert audio track, right click, insert audio track with the audio from 22 and arm it. Now we're getting the audio coming in through here and all we're going to do is just recording a bit of that effects. Let's see what that's like. Let's come on J on the clip consolidated. Let's delete the effects. Let's come into this clip. Let's just loop section now. Let's come to the trans, let's put it on the one arrow. Let's go to 16th notes and let's dial it, barks it's a lot tighter. Go, let's make sure it's on 1 bar. Let's get a ******, er, we go to fazer flangeer, drop it in ******. Er, the different you get the idea, it's, it's good fun experiment. And with that, especially when you put the Florenger on top of the recorded audio as well. Because that evolves over time and it changes all the time. It's good for the ear, it doesn't really reset. Have fun with that one. That's all about glitch effects and creating rhythmic effects. 71. Reverb Pre Delay FX: Folks in this one is all about the reverb pre delay and how to use it just to create nice atmospheric effects can really enhance a groove, especially in your drum partners. Doesn't have to be drum partners. This could be done in like stabs or melody lines, et cetera. But we're going to do it in drums for now, just so you can hear the effect. We're going to do it in the clap first. Just let's get a drop it on and we're going to crank the pre. We'll go around 600 just now, Put 100% wet around the different settings. The pretty cool feedback. Absolutely. See how it's got like a stutter effect. Let's hear up with the track, let's put the prey app. That's cool. That locks in the groove Nicely. I've got to decay. 114 sids, all the way down, dump and all the way up shape, all the way down. I mean, you could try experimenting, all the different parameters here, but I'm just trying to display the idea now. The EQ, we could do something with that. Cool, now let's try it on a different sound. So let's copy the reverb onto the heart solo. Let's try a different algorithm. Let's double the pre delay. So go 743-1486 will be 1,486 Let's go back so the kick up the part, change the algorithm. Farwell, let's try, let's get an L ph modulator. Lopho market. Yes, go lie down, map it to the blend. We'll pull the depth right barks that just sweep slightly between the two right down. I'll do there. That's pretty cool. Just something extra. So let's hear it in the context of everything else. Just tweak the dry wet to get it to taste such them off. So you can just hear how much it brings to the groove. More depth, it adds to the groove. The folks, a pre delay. Like I said, folks just try different sounds and have fun with. 72. Corpus Drum Layers: This one is all about using corpus drum loops and percussion loops. I've got this loop, R loop. Let's get Eblton's corpus on. The first thing I always do with corpus is I'm in the key of a minor. I'll commit the corpus and we'll just set it. You go to the tune function, we'll just set it to a. Let's go to a three for now, 14. Let's pull it down. 14, just to march it up. You've got all these different sections you can use. Membrane sounds pretty cool. Quite like pipe. You can tighten it up with the decay schooling membrane. Some mess around with the material. That sounds good to me. Now if you go to the LA four section, you can either but a movement on the sound, the different shapes, too much. Nella phone doesn't really work for me. Quite like how the tube effects sounds. Of course you can pitch it down. You can pitch it up. The Eller phone, the tube sounds quite nice. It just adds something that's it's always evolving and always changing, Changing the rate. So without the corpus, just give us that subtle layer. It just sounds really nice. Up the tune. Go to four, of course, you can group the corpus. Let's open it up, let's duplicate out the chain and let's have this one name wet. I'm going to delete that. 100% wet. I think a reverb would sound nice in the end of that. Let's show the way. Let's try a reverb. Uh, we'll try delay. You can just adjust the wet to taste. I think a chorus should sound good enough as well. Let's got a chorus. Put the chorus on, let's go before the re, you could have just a wet. You can imagine not playing in like a section of the track where you just bring everything down a bit and then you kick back into the fool drums. So just a cool way to add the career interest in Topiagroove that she's in Corpus, along with some chorus reverb and delay. Hope that helps folks and I'll see in the next one. 73. Doppler FX: To design like an effect like the Doppler effect where the sound is perceived as being low and then passing by, almost like a car passing by on the road. But it starts off in the distance, gets louder, drifts back off into the back of the mix. It's a pretty cool for like intro effects and stuff. So first thing you're going to do is right click middy truck. Lt's get an instrument. Let's get operator. We'll draw in one note over Earth, let's say 4 bars. 4 bars. Let's go to one and hit legato solo. Let's change it to, let's go, So 64, we're going to the filter frequency. Let's click in the frequency here. If you come in the clip and you press up the top here, this one in the middle, you should have the filter frequency and operator here. Now put a node in the middle, one in the end, and one on the other side as well. Just push it up to open up. Let's put a slight carve on it. If you hold the option key, name this one, let's push that one out, maybe like that. Let's go into the click on there on the track. Bark in the clip now you'll have the automation mix our truck par here. So I want to bring it down. Let's say 29, 28 in the middle. It's off to the right. Let's go to 30. Now the volume filter frequency come in to filter out. And let's bring it up a bit. Volume clicking the volume, let's pull the volume down around there. And let's go up. Let's get one more thing. Let's get a reverb, Drop it on, throw it down so we're quite short. We'll miss around the decay, but the dry wet. Be clicking the dry wet and barking the clip, the automated to come up to open up 48% we'll just take it down. Other than some more sounds, more decay. Around 2 seconds on the reverb. Let's get any que, think we should have the filter open up a bit more. Or let's get the option. Let's go over that. Sounds pretty cool. Maybe the filters open up too much. Let's operate our filter. Bring it down, Let's put a carb on it here. Nice. Let's try doing a bit more in the part as well. Let's see how that sounds to be clicking the pan. Let's start off down here around 40. Same the volume mix operator. Look for a volume thing. The volume up, just an idea. If you had some like stereo field effects where you've got stuff in the background, can come in and out. Experiment with the par, try to have it come forwards and bark forwards and bark. Remember volume automation, you use the volume very lows. At barks at the front. Obviously our par left, right? Just experimenting with it, throw different shapes but that was just a basic understanding and a basic idea of how it automated and just a different automation lanes. Basic understanding just to create that Doppler effect. Hope that makes sense folks and I'll see in the next. 74. ARRANGEMENT IDEAS : Power Of Silence: Folks, this one's about the power of silence when you're arranging your tracks. I find this works well for just before drops. Also the micro tension part where you've got a new part coming in a new section like after eight or 16 bars, you've got another instrument coming just here. What I mean, this part here works okay. But I think when you take out a couple of kicks, it adds a bit attention. And it just hits a bit harder when it drops in for that new part. I've got these new sounds coming in here like this percussion hit for example, volume up a bit. Just take a couple of kicks out as opposed to take a couple out. Just adds up attention. The same here was just to have that open, but I think it works well. Maybe take that back. Four, be nice. Now let's try a medin part here. I've got the silence in this main part. Delete this, come on, look, right click, delete time and just have it play right into the right into the drums again, it works. Okay. But I think in my opinion, just having that bit of silence in there, it just gives up a bit of it builds more tension and I feel when it kicks in, it just gives up much more impact when it comes to using silence just before I drop. So try that folks like the micro, the micro parts we take kicks out here and there, take other sounds out. Doesn't just have to be, create a sense of tension in a track. Same with the brakes. Trimlodartsi' took this whole section out here. We've just got that one part, maybe something like that rise out, give folks that's micro tension and the power of silence. 75. The Power Of Filters: Folks. So this one is all about using filters and arrangement and how you can take a sound and just create a sense of anticipation intention. Of course, when it comes to writing your tracks, you might be stuck in a sound, you're not sure what to do with it. It might sound too dull, maybe it's too bright. What I find works well is if you build something up over time, start off really dull and then get brighter, especially like in a breakdown, you can really excite the listener and just make a much more dynamic break. Makes sound like I've got this base sound here, the break base. I've got the filter and then it rises up at the end. So what I want you to do is focus on that sound. And then I'll take the filter right down. And then we'll do an AB where we'll just have the filter just the exact same as it is along with the other sounds. And just tell me whether if you can hear the difference when we do the two of them. So let's listen to it now. We'll do it with the filter open and just see the difference in how it feels and how more exciting it is just by having the brightness come through in the sound before it drops in. As you can hear it when it builds up, it just adds a bit more tension and excitement in the sound. If you're arranging your truck, you just feel it's a bit flat, a bit lifeless. In the breakdown, experimenting, methotal filters and just start off and gradually build up and open up the filter over time. Just before it hits in the drop, you'll see a big difference in the dynamics of trucks. 76. Master Automation: My folks in this one is all about master automation. What you have to be wary about in master automation is just the type of effects that you use. You can use a lot of audio effects, but don't be using stuff like dynamics compressors, multi bond compression, stuff like that that can tamper over the file when it comes to master in the truck. When you send the truck off, the master and engineer, they don't like anything on the master channel do with processing, just be wary of that. But you can use audio effects such as phase Er or flanger. I'll just show you what I mean by that. Here we'll just grab a flanger and we'll drop on the master. This is just going to affect all the sounds within the break. If we open up this channel here, we've got the master channel. Now the drop is here, this whole section here to play with. We've got the flanger on. I'm just going to automate the dry wet to open up over time. And it's going to drop here. So if we listen to it, we'll just have to adjust the dry wet to hear the movement and all the sounds. It sounds pretty cool and you could crank up a bit more or less do the feedback just in the final section here. Let's add some feedback. So quick and easy master. And then you could always, I've got another break here. Another breakdown here. Let's get the master. Let's get the dry wet. I'm going to copy copy the dry wet. Come see, drop it on the second break. The first break here, saw it drop it in, it's just going to drop out. Well, maybe do a bit less this time. Just a subtle amount. Let's get feedback. Same again, we'll just do a subtle amount this time so you get the idea. Cool. You can experiment with different types of delay, rebarb, et cetera. But I find the phase of flanger works well in brakes for example, and just moves all the sounds about and it sounds quite gelled together when it's on the master, it's effect in every sound. So I'll firm that folks and I'll see in the next one. 77. Use What You Have: It's all about using what you have in the truck. Just to add any bits that you feel are needed, like ear candy and stuff like that. When it comes to when it comes to right in your truck, sometimes we're prone to reaching the sample library to find something. But nine times out of ten, all you do is just get something you already have. Just do something to it there. A few tweaks to it or just use one note of it. For example, look at this base Sound And then at the intro. Here we can use a star at the intro. If I grab it, just hold in the option key, highlight that little section. Hold in the option key, make sure the hands showing and just drag it across. Drop it in bar nine. Maybe not so much like that, but you get the idea. Just a little snippet of it, maybe the of it less and save again. We could do a bit longer, I felt we could do with something here. This part here, just to answer the base we've got here. This part, let's drop then the shift gate. Drop it on over here. Let's reverse it. Then another thing you can do, you can just go through all the sounds. I've got this re sampled sound here, we got one that's like a main ref. It's quite a good, it's good to just use a part of the main Ft, you're sneaking into the truck when it does eventually come in. The listener knows they've heard it before, but then they're just going to hear it in its full after hearing like a snippet of it. Maybe have it in 25. This part it's filtered out. Let's get reverb, multi tap the lay on it. Let's see what that sounds like. Got off, pull the bat there, go. And then maybe get the basin again there. 29. We just made that whole first 33 bars a bit more interesting just by taking sounds that you already have in the truck and just taking a little snippets of them and just adding them in here and there for a bit of your Caldi. It's just something familiar from like of the main sounds that come in later on in the truck. But if you're playing a little snippets here and there, it's just a cool touch to add to a truck just to add some more tension. And it just keeps a listener thinking as the truck progresses. Okay, folks, hope that makes sense, and I'll see the next one. 78. Master Stereo Effect: Folks. So this one is all about using the stereo field to your advantage when it comes to writing like say our breakdowns. And just before it comes to drop, just to make everything sound a bit wider. And it just gives off the effect, it's got a nice effect to it and it can just make a nice impact for when everything drops back in. I'll show you what I mean by that. Utilities, and we're just going to get a utility effect, drop it on. What we're going to do here is we're going to automate utility to open up the width. So we just click on the width pattern and we listen to the sound we take up to 200. Then the shift key, we'll just push it up to 200% there. And then let's bring it back down to 100. Now I think what we'll do is we'll grab, it's a free plug in. It's called Pancake two. Let's on what we'll do here, we'll automate the mix to open up. We'll just There, I know. Then here, open it up. This will just make the sounds sweep left and right through the stereo field. Maybe not so habits like 100% maybe take it down to 51st and we'll see how that sounds. It's quite a cool effect, so we've got to open up wider. It just gets wider and wider just before it comes to the drop. Then the palm cake, it's just making it sweep left and right. Maybe a bit too much in the 50% maybe take it down to like 40% You just get that subtle movement with the sound swinging left to the right. Sounds pretty cool. We can mess around with the different times. I'll throw a link in the class description for you to get to pick this up for three. It's quite a nice little plug in for odd movement to sound that's using the stereo width here advantage for when it comes to writing like breaks. So just experiment with it folks and I'll see in the next lesson. 79. Start Markers For Starting Points: Focus on this. One's all about using start markers and using reference trucks just for a starting point for your own trucks. When it comes to a arranging the loop that you have, I've got this truck here, it's my original truck, cross scale that Moonshine, it's a U and real remix. What I'd like to do is sometimes if I'm stuck and I've got an idea going and I'm not sure how to arrange how to go about it, I'll get a reference truck and just use the start markers to a different locators and just write down ideas that can get you going and just get you started. Nine times out of ten, you get maybe around the 65 point mark and it might just flow into something totally different. But this is just a good way to get started. All I do is just listen to the Racal soloitI'llts Insert locator, and I'll rename it and I'll just put in kick, shake our base. Then I'll move on to say bar nine. I'll say Odd effects, Stabs, par 17. I'll locate our F of T Hearts. Then I'll say maybe our percussion on. Part 25, Percussion on. I'll just take it from there. Go right through the whole truck. Get out some get out the markers and just write in these parts. Just delete the reference truck. Then I've got here kick shaker base. I've got a base here, I've got my kick percussion here. I've got some parts here, maybe like a loop, and I'll just drag that in. Let's delete those parts. Delete that. Get rid of them. We've got a starter point, then we'll come in here, then I'll get something else from the truck from the loop. And I'll just add it in and just keep going through the truck. And then when you get into the flow of things, you find yourself not even going by the start markers. You start getting into the flow. You start getting the feel of how the truck sounds and how in the direction it's going in. Just give back to try folks quick and easy, takes about 5 minutes to set up, drop the track in the start markers, then just put in the different descriptions of what about what elements are coming next, et cetera. And it will just speed up your workflow when it comes to ranging. 80. DELAY IDEAS : Binaural Delays: You get wrong, folks. So this one's all about using delay effects and sense just to create like a binoral effect. Now, what is the binoral effect? It's basically perception of sound coming from different directions or like locations. Just giving it like a three D effect. So let's grab a couple of delays now. If we right click key, insert, return track, we'll do it twice. Insert another one, then we'll come in the first one. We've got a delay unit here, so we'll grab that. Copy it, hold in the option key, drag it and drop it on the return B, Same again, drag and drop it on return. Now in B, well command rename command R delay left and then this one. Delay, right. Let's open them up. Delay left, right click here. You've got the par in here, far left, left, right. Now enable it on the par and left and right. Basically it's like a volume control. It'll turn down the volume and right and turn down the volume and left. But if you right click and hit Select Split Stereo par mode, that gives you more control. And it pushes all the sound to the left or the right. For delay, left, we want to take everything on the right, drag it all the way back to the left, then delay, right, right click, select, split Stereo and push everything to the right. That's our position set up. Now if we come at the left one, let's turn the feed back up a bit. Take the ping pong off, keep the filter around there. We can mess around with these parameters. Let's change it to say one and 1.3 This one we'll do 2.4 and we'll keep it in ping pong. You can mess around with that as well. It's just all about experimenting, but we're just going to show off the effect. Just get an idea of the space it creates and how you can have a lot of fun. You can take your music in a lot of directions just by using this effect on one sound. I've just got this stab sound here. Let's listen to the normal delay first. I've got to insend a, let's just push it up in the normal delay. The sounds just going in ping pong move. The delay is going from left to right. It's playing the note then it's delaying left and then it's delaying, right. If we go into the delay left. So we're getting every delayed hit on the left side from this one here. So let's push it up, let's go to the right one. Let's push it up. And we'll mess around the times there as well, so you can mess over the falter as well. There are some really nice tools, so we can just experiment with the different times, the feedback, the filters, you can get some really nice life stones. Now let's go through each one. I'll turn up the delay, the normal delay first, we'll switch these off just so you can hear the difference. That's a normal delay. Now with the two by here, how much more fuller and more smoother the delay is? For me, in this delay, it's just a bit too rigid. I mean, it's okay. It sounds nice. But if you get this one much more, three D, much more space now. It doesn't have to stop there. We could right click, insert return track. Same again, put in two return trucks. Let's get a different delay this time. Let's, let's go for the grain delay. Drop it on, on the first one left, then we'll name same again. Right click, split. Steal this one's left. So pull the right all the way to the left and then push the left all the way to the right. 100% feed. Let's do the pitch minus five on the right. Let's do minus nine on the left. Let's change the timing three, let's try something like that. Let's keep that, let's put them off and let's mess around with these two here. I don't sound so great in the Ron, but we switch on the others. We can mess around the frequency. Let's put the pitch up to five, get some really nice artifacts coming off the grain. That's just an example, if you get the idea, then you can control the volume here, so you could control the volume of the actual delays himself on that sound. So worth experimenting with, try the different delays. Try the gate delay, try the echo. You get the filter delay as well. You can control the left and right in each filter and maybe try the beat repeat. And there's so much you can do that. And remember, you could always automate the actual delays to change over time and come in and out, switch them on and off. Insert more feedback towards like a drop section here. So just think about that in terms of automation as well. What you can do at the sound here over the 4 bars just by automating the different parameters and the delay. So a lot of fun. Be hard, enjoy folks, and I'll see the next one. 81. Reverse Reverb Bounce: On folks. This one's called reverse reverb bouncers and basically this one's all about sometimes when you have like a sound in a track, then you come to the intral part. You need something there is just to stop you from like sample surfing. You just take what you have record and then do a few tweaks with some delay effects. And you've got something that marches in with the sound that you have and it just makes it more cohesive as a truck. First thing we're going to do is we're just going to grab this first hit here. We're going to hit command the E. And then we'll just press zero and that mutes that. We'll grab a reverb on Insert Audio Truck, we'll put it to re sampling at arm. The truck, come into this reverb here, just switch all these off, spin chorus, et cetera. And we'll just turn a decay up around seven, throw 100% pull the pre delay down then we're just going to hit record and it should record the reverb. Let's keep that there. Now, come back in here, switch that off. Don't need that snout. We just get the sound to play with. If we hit command J to leapt over our 2 bars, if we hit the R button, that just reverses it, but we're just going to use four. 16th, 48, sorry it's half a bar. And then we're just going to duplicate it out. Now if we grab an echo, let's put the 16th ping pong and turn it echo off. Turn it on the filter. See EQ up. You can hear the effect. It just adds this rhythmic pulsing type. Sound So another thing I'd like to do here is drive. Let's get an over drive on it. Pull tone down, down. Let's get an auto filter. This is something we could automate over time, is pretty cool. So let's duplicate that whole section out, duplicate. And then we've got 8 bars. Let's put it with a kick and like a heart Sound. And you could mess around the different timings and you can automate that feedback over time as well. It's another one to keep in mind. What I would do there is I would click, click on the auto filter. Hold down the shift key, click on the Echo. So you've got all these three highlighted. Come on GT group, open up the macro, Right click the feedback up the marker one, right click the filter frequency up the marker two. And also I would automate this here to come in and out. Right click the C of three. Then we've got this little audiofect rock now just to a different textures just to all the interest over time r' mapping the time as well. Just another nice technique to create like textures using the delay, using the echo delay, it's pretty cool in the overdrive and then the auto filter to automate it over time Just to open it up, it works great for like an int part or just even other interest over time in your truck. You can just pull this sound in and out. Just got that delay, like rhythmic effect. It'll just kind of bounce along the groove you got going. How fun it folks. And I'll see you in the next one. 82. Grainy Filter Delay: You get on folks. And this one's all about combining a grain delay with a few different filter delays. I've set up this rock, I've created this rock. I'll just go through each section just so you get a good understanding of how it works, how to set it up, and then you can create it yourself and just try drop it on the sounds. It just has a lot more depth to a sound. And it sounds really nice for these hypnotic intertwining like delays. I've just got the sound here. The solo we're coming to filter delay one. We'll switch it off. Now if we're coming to filter delay one, open it up. Now what we've done here is I've dropped in a filter delay and everything's on set and all the delay times set to one. The first filter delay, I've done the same, the second filter delay. And the set set the 2.2 and then three on the middle and the last 13.3, in the sides and then five in the middle there. Basically just experiment with different delay times, but I've just set them all, so it's one in the first, two in the second, then 33 in the third, for the left and right, and then for the center, the more I'll just put 13 and then five, set your filter delay, Then I've got the overdrive. It's just tweak to the sound solo, filter off some grit. It's just, again, it's just about experimenting, finding the tone you like by moving the filter around, tweaking the drive. Then we've got the auto filter after it. The auto filter, slight envelope, reverse bark, so it means it's coming bark the way down towards the lows frequencies at two to five, the rates at six. And the amount in the L is at 12. So if you pull it back, you can hear the effect of the L. If you've got it over six, a longer rate flows in and out. A lot more hypnotic. Bottom make sense but limiter at the end just to catch anything it might peak to get the feedback up at 704-70-5502 in the center. I've just took the volumes down minus three, I've done that for them all. The second one again, same set of the filter. Change the filter times to two and then three over drive again. Just boost it slightly in a different region. Come there, it's just left. And then the overdrive in this one shift it up slightly. Same with the filter. I boosted the filter frequency up so it catch in a different section. That delay is picking up a different section of the sound. So you look at this one down in the 225. So the delay'll catch it there. This one, the delay'll cart at around 495. Hearts, same again, in the LFOs 15 rates, it's six. Overdrive there. And then the limiter at the end. The third one again, od boost that one up slightly, but then the overdrive the filter, we've got it up at 1.4 if you remember these two. So you can see what I've done. I've just gradually moved it up over each one's carts in different parts of the spectrum. That makes sense. We play the three of them together. Remember these two got different delay times as well. So it's the three filter delays. You heard the auto filter with the LFO envelope just sweeps it in and out. It sounds really nice. Finally what I did was I put on a grain delay. Then the filter is down around 300, 300 hertz of the LFO, around 20. The rates a bit faster. The over driver as well have tweaked up the taste. I put the pitch at minus five in the grain delay. 100% wet. And then 70% of the feedback with here on its own you can hear it just a totally different tone. But it sounds really nice with all four play together. If we play all four throw on that sound, then the filter grainy Dub Dub here. How much more life and just something comes to the table just by having this effect on it. One final thing I did was if you get the frequency here, if I move this, you see it moves the frequency and this one moves the width of the frequency. I've mapped each of them to the same one on filter one, right click and just mapped the filter frequency right click the filter frequency. Filter 312.3 named on 11. The top two is the middle three at bottom 123. I've done up for each one, same map to marker one every time this changes also. This one also changes this one as well. And same with the width here, map the different see here, and this one is the middle. They're all mapped. All three are mapped to the cronomsow. The reason I've done this was to give a bit of randomization to the actual to the delays. And you just hit random here. The filter, all the delays, different delays. Random just changes the filter. Listen to it in a tone. Again, I throw off so it's such an awful It's here it sounds like on its own with kick in her heart of course you could change the pitch. You can have a lot of firm with that grain delay. It's harder than that X Ra layer. So they go there to filter a grainy dub. That's how to set it up. Just experiment with the different filter delays, the times the pitch on the grain delay as well. Use a random function to change the tone of the delays. I remember the auto filter is picking up different parts of the frequency spectrum on the sounds and the overdrive is it's just boosting slightly in different regions as well. And remember and have the limiter at the end. Affirmative folks and I'll see the next one. 83. Crossfade Pitch Delays: This one is the cross fade pitch delays. For this one. Basically for this one I want to display where you can add variation to your delay lines by using automation, but also by using the cross fade and audio effect rocks, where you can have two different effects and you can just automate play between the two effects. I'll show you what I mean. We've got this sound here. Same one as before. I think I'll do is I'll just duplicate that out. Play that first two notes. We get a echo drop it on limit at the end. As always, just in case it gets out of control group it command open up the chain, duplicate it out twice to one, rename dry. Then you take the echo unit out of that one, coming into this 100% wet. 100% wet. In the two highlight these two, then group again commands, we're still getting a dry signal. Plus we get the two echo effects here that we can manipulate and use the chain function in the first one. If you hit this button here and link some change the time mode in each, now you can affect the left and right individually. We just rename number one. Rename that number two, number one. So it's 47.2 and 1.38 and this one. Let's have a listen, do the same again on the time now, right back this time we've got the left up at 47.2 let's put the right 51 B P P, number one. We've got 47.2 on the left, number on the right, we've got 51.3 just absolutely in the left. Same with that, absolutely in the right. Just a subtle variation. That's what we're aiming for. Feed back 82% in the second, 73% on the first do here is I'm going to get the pitch. So we go to pitch, let's drop it on the first one, the dru, then puawelveemes. Let's go minus five again, at 17. Let's go three minus nine. Let's change the rate, keep on four at minus nine, let's go -12 again. So that'll be -12 21. Now let's copy that one on number two. Hold in the option key, throw it on number two. And just put that up one semitone 20. So it now let's get another delay. Drop it after drop in here. Let's like glitch in the system there. Throw it after the pitch truck, ping pong, 38% 100% And let's take that, throw it onto the number two as well. Throw it after the pitch. Tuk, we might have to adjust the, the pitch itself, but it's just about getting the idea and getting your head to think, right? Okay. What can I do with this? If you hold down the shift key number one, hold down the shift key number two. If you open up the chain function here, then highlight them both and drag it out. Then what you're going to do here is we're going to take this setting here, take it right across. Same with this one at the top. Pull that right across. Now when you cross the fader, it's going to play. Let's start changing the rate, 16 D. One more thing, which I think will add will be the OTT. Let's grab it, drop it on, and place it after the pitchark. And let's copy it in the key, put it on both the units. Have it after the pitch now. Right click here and map the marker one. Put the chain select now. So if we come in here, then in the second part we're going to crack it right up to 27. So it's now going to play from here. Now let's go, let's change this pitch because we're not quite hearing the effect happening 12 in the first 1, second one happening minus five, -12 in the first, minus five. You see it just gives off a different tones and different variations. Let's try in some different sounds. Let's see what else we can do with it's. Got a stab sound. Let's take something like that. Drop it in. Drop it in there. And duplicate it out. Let's look at the automation. Change select. Yeah, let's push it up. See that sounds like. Now let's get the pitch now because it's quite a low sound. We put the pitch up five in the second 17 and of course American Mess in the reverse. So we switch a rock off, we'll hear the sounds on the own rack on. Just add something different. It's got 12 semitones in the first and then let's go to 13 in the second. Oh, sorry, 15 in the second. Here just adds another textured, another layer at the sound. Some more variations, you can imagine maybe playing that off of different lengths, a start, different lengths of sequences where you could have this more than one. You can have maybe four different delay units. Then for each note it hits, it will bounce off four different sounds, each given off a different delay effect. That's just the basic understanding of how the chain selector works. We delete automation. Like I said, you can get more, have four of these out. Instead of blending them, what we could do is put it back and highlight them all out. If you write click Distribute Ranges equally, then you can have different delay effects on all the different ones and just automated to change over time over each hit. It would sound pretty cool. I hope that makes sense folks. Let me know how you got on. I'll see the next. Leon. 84. Sporadic Delay FX: Folks, just a quick one for you, and this is the sporadic effects in session view. Sometimes you find you've got at going, you've got an idea going in session view and you want to add some effects to it. But do it in different sections, do it in different clips, there's a way you can do that. I've got this idea here. If we copy this part down, we'll copy down the kick, we'll get the texture, we'll take a heart down. I'll get this chord progression here and we'll do, we'll just do some sporadic effects. I'll show you how to set it up. It's easy enough. So this makes sure these two are highlighted here. Then you've got this little record button here. This record button helps you record in session view and it will pick up any record, in any movement, in any parameter in session view as you're recording. So for example, that could be playing this part here, then I could move on to this part, but then we could do some send effects or this here, then it will only affect this scene here. And as we jump between the two, the effects will just stay on the one scene. So I'll show you what I mean. So we'll just hit play here. And we can hit the chord button here. This one down as well. If you look at the sign here, if we, if I hit play in this scene here, see how the record automation goes away. If I hit play here again, comes back, put the clip, The automation is recorded in the clips. It's not recorded here. You just make sure these are highlighted for you. Whichever ones you want to automate, you hold on the command key, then arm the track. We'll learn the heart on that as well. We'll just hit play, Sit Record. So you see that meaning it's just a brief demonstration of how to record like sporadic effects using the sense and this record function here and clips and have it just affect one clip and not affect the whole lot. Okay folks, try that and I'll see you in the next lesson. 85. CREATIVE CLIPS : Clips Intro: Focus on this one. I just want to quickly go over clips. Just explain to you what the different settings are inside. Just quickly go through what they are, what they can do. You've got a number of different things that you can do inside Eclipse. Before we're going to techniques, I'll just briefly describe what they are, what our clips clips are. They can be either Midi information or audio information. We've got audio information in this one here, we'll throw these two down just so you get a better view. In the clip, you can see there's not much difference between the two. You've got this section in the first part is the follow auction part. The different settings for the clips for the start markers, et cetera, position, length, the time signature. You get the groove. And you've got the scale, that's for the Midi clip. You haven't got the scale in the audio clip, obviously they're both pretty much the same in this first part here. Then you get a follow action. I'll go through all that and I do the follow auctions techniques with you. But follow auctions are another cool way to come up with creative ideas inside a clip view. In the next part here you've got your notes, then you can do different, various different things with them. Here you can divide by two, which makes the notes smaller times two makes them twice as big. And so on, reverse the notes you can invert, we just quickly highlight them. Divide by two, Just take some bark times two times two again, again, as you can see, that just get bigger and bigger. Reverse flips the notes in, put them up and down. Then you get Legatto stretches them out to the next note that starts to highlight this one. It would stop here when you hit legattovisly, put a new clip, putting one and hit Legotto straight to the end. As you can see the randomize, this is the velocity settings and stuff. You can do, other things that as well, you can randomize the velocity and just change the range of the velocity as well. This is at the range plus 127 minus 127 here. You've got the different envelopes. We'll go through that as well in the next Vos. Then you get the note expression at the end. We won't go too much into that, won't be covering that so much in the series. We're just going to focus on these two and these two here inside of the clips. Audio Again, same set up there. You've got your clips. You start, if I was to put it up there, just move the start marker minus 31, supposed to move it to. You See here it starts at 2.12 especially just your start marker. Setting your position, that's where it loops here. That's your settings for your audio. You get a BPM. Again, divide two times two. Same as the middy function. It stretches it, or it makes it shorter or longer. That's the phase at the end of the clip. The start, sometimes you'll have popping at the end of the clip for the audio. Then you can get a pitch again, get a reverse function here and edit that. Just edit, that's just for editing your sample. In here you get your envelopes like your automation modulation, linked mixer. You can pick down the different settings, you can do different envelopes inside Eclipse. But we'll go into much more detail in the next, in the following videos just to give you an idea of how creative you get. It's just a basic introduction to Eclipse. You'll learn a lot more as we apply the techniques in the following videos. Okay folks. Cha. 86. Clip FX Automation: This one is all about X Automation eclipse. This one's for when. Sometimes you'll have like a middy part and a melody going. It's a good melody. You like the melody, but it's just too repetitive. There's not much difference in the sound. It just sounds quite started. So we're just using this technique just to add about a movement in life. Here, Melds, I've got this Arp sound here. Let's do a couple of things to it. First, we're going to get the decay. I'm going to get the decay on this sound here, on this note here. I'm going to up the decay. So we just highlight the section and then just whatever section it is, push it up or down, whichever way are going with the sound. Then the end here, at least three notes. I'll just put them up slightly four Es, just give something different. Now let's get the reverb, clicking the reverb on here, coming out the clip. It should be reverb here in the clip. Let's try putting some reverb in these notes here. Let's highlight that section there just before this note, and duplicate it across. Let's go to this wave table. We'll just try this, not sure how it's going to sound, but we'll just do something of that. Let's go here and let's bump it up. It's like this one. You can see you can just make a huge difference just by adding these subtle little changes inside the clips. Trout in all different kinds of settings trot on your effect as well. You just click on the parameter you want to map When you click on it and come out to the clip and you hit this envelope button here, you'll have your automation up here, delayed dry that, then you just highlight the part you want to automate and then just boost it up or boost it down, Whichever we are going experiment with that folks and they'll see in the next one. 87. Clip Unlinked Automation: Folks of this one is all about unlinked automation, just to show you what you can do inside a clips in session view when it comes to when it comes to writing your trucks. Because sometimes you might just have a four bar clip, but you want something to change over time, over a longer period. How can you do that? Just a quick. If we just come in your and we're going to automate. Let's automate, let's get a reverb Bonnet. Easy to demonstrate, but you get the idea just by seeing this. We automate the dry wet to open up. Let's get a decay around seven. So if we operate the dry wet, click on the dry wet. If you come into the clip, we come into the envelopes automation set wet, unlinked, then it's a four bar loop, but let's make it 8 bars. So then we can now automate the Re to come up as if for a transition effect at the end of the 8 bars. Let's hear it. Of course, it doesn't have to stop there. You could duplicate the length out, you can make it 16 bars. You can get the delay. Click on the delay, barking the clip. Let's get delay, link it. Let's go for 16 bars this time. Then the reverb sweeps up in the eighth. Let's get the delay to open up a bit more. In the final part of the 16th, 16 bars. We could also get the auto filter if you click in the frequency to unlinked again 16 bars and we could have it open up over the 16 bars, almost like an intro part. Let's just automate the reverb again at the end of 16 bars. So just to recap, link function automate parameters over different times. For here we've got the auto filter to open up over 16 bars. The reverbs open up at the end of every eighth bars and then at the end of 16 bars we've got the delay. So from the folks, they'll see the next one. 88. Follow FX Variations: Folks. And this one is all about follow effects variations. This is inside a clips and session view. And sometimes when you get a few things going in session view, like right, okay, where can I go next? The loop gets a bit repetitive, but just by using this technique, you can start to make things very interesting just by doing different variations in each sound and having them all play between each other. By using the follow auctions as well and clips. Got the sound here. It's just the sample version of that. I'm going to loop that. I've got this section here loop that's 4 bars, we're going to write Click and I'm just going to crop it. So we've just got that four bar loop now. Because we've got this sound which is the same sound and it's going to be a lot of cars in here. What I'm going to do here, I'm going to pitch it up 12 semitones. Just add something else to the loop. Then from there I'll write okay command plus 12. Then I'm going to duplicate it out, this one. Let's reverse it. Hit this pattern here. I think we'll have that one first. The reverse first. Let's rename it reverse. Plus 12. We've got the two variations, reverse and plus 12. Let's duplicate the plus 12 out again. This time I think we'll do an effect on that. We'll add a doubler. Then on the last one, let's just rename it Feedback. We'll automate the feedback on the doubler, and let's just get four variations of that one. Sound Let's the clips in fact, let's do the follow auctions first. If you click on the top one, holding the shift key, hold on the bottom one. Follow auctions, now we want it to play next. I know in previous videos have done the other where it jumps between each one, but we just want to do next. So it's going to play from there and just go through the four in order, then double back to the first. Keep it in linked. We could do it over 8 bars, but for the purpose of the tutorial, we'll just do it over four. Ideally I would do it over 8 bars. So you've got like a transition, then the next one comes in, but we'll just leave the gatto off. That's all you need to do there. Just make sure fall actions are on and it's hit the next and keep it linked. Come back into the clips. So we've got the reverse, the plus 12, then we've got the doubler. Let's get the doubler on it. If we go to the effect pitch phase, our ******, drop it on. Now what we have to do here is we've got to automate the sound inside the, automate the effect inside the clip because we don't want to affect everyone just for the doubler here, for example, pull the dry down, just go into the doubler. What we're going to do is to be clicking this button here. Should come up Phase our floors or dry wet. Press a B button and then just highlight throw on 100% wet. Right across here. That sounds on its own barking the doubler time down. Let's go to rate happy with that. Now let's go to the feedback coming into this one. If you go to phase our flanger again and click on the feedback button coming into the feedback clip, we're just going to pull it down Then we're just going to open it up. Say we'll go 55% One thing we forgot to do is we'll get the dry wet on as well. Let's get the feedback dry's going to be on to draw 100% wet right through. All right, let's do one last thing I think we'll do just for the sake of like a transition effect, we'll just do a bit of reverb just to wash it out. Between each, between each clip we take the dry wet down decay, around 3.16 click in. The dry wet come in the reverse to get the R 65 I'll do. Then we're going to highlight the second part of the bar. So you're going to copy the automation clip. Press command C, come in here, click in the middle, command V copies it in, in the doubler command V copies it in feedback command V. But at the same time, let's group it so we don't lose any of the dry signal to duplicate it down. This one. This one command Z. Keep the top one so we've got the automation. Click on to them. This one you want to make the dry that read reverbs. Get the automation on here. Let's listen to how that sounds. We've got the reverb reverse that comes first. You get the idea. It just loops through different variations. Loops back to the start. So you can keep a throck interesting and evolving over time in the session view just by doing this little trick here and do it to all the other ones, all the other clips you've got as well. Rounding different variations and then for different sections. Then when you're ready you just record every hope that makes sense, folks creating variations and using follow auction. 89. Bass Follow Variations: This one is all about base follow actions. This time in the follow auctions, we're going to use the loop length just to create subtle variations altering the different lengths are clips and just duplicating out the actual base sound to create like a variation or like a little turnaround at the end. Sounds pretty cool, but it doesn't have to be the end. We'll go through the different length, but I'll just show you what I mean. We've got this base sound, well that will Sound at the end. We'll do something with that. Let's duplicate it out on the first one. We're going full actions on set to next unlink it. Then we're going to set it at 3 bars three here. We'll set 33.3 and then put zero at the end. In this one we're going to have 0.10 if we play it, okay? So it's now playing a one, but what we're going to do is we're going to pitch it down 12 semitones. I think what we'll do as well as we're going to loop over an eighth. So it's going to play it twice. It's command L looped over two eighth at a minute. But because we've looked over over one eighth, it'll loop it twice before starting again. Let's hear that now because we've pushed it down 12. Let's, let's focus a re on it as well. Get the hybrid dry, wet, decay down a bit, size down a bit. Let's automate the dry wet. This one. Click on this button here, Hybrid, dry, wet. Leave it at 30% the dry weight in this one. Take it off on this one. That's it. Let's press play. It always resets back to the start. Now look what happens when I bump it up a bar. So it's going to play 4.3 bars this time. It's basically going to go round once, just before this bar here, it's going to play the variation, then when it loops over a second time, it's going to play over here. As long as legato, remember have legato set on each one, it's going to pick up where it left off a last time. So just watch what it does now. This part here, it's always moving, it's always moving to the next spot. Every time just by bumping it up a bar, you can bump it up to five. Then every time it will move forward 2 bars, if that makes sense. This takes a bit of experimenting with, but you can get some really interesting rhythms and subtle changes in your sounds, different changes in your sounds that lock in with the groove Just by messing around with the different parameters there so you get the idea. Just mess around with the different times. Make sure they're unlinked. Next, just do the two was start worth. Remember, you could always do another variation or this sound if you set the follow options next. And then I would duplicate this one out to put here and keep it the same. Then you could, let's do that now. Let's copy it. Hold down the option key, drop it down. Second one will drop it down. This one's pitched down 12 semitones. Let's go down another octave to see how that sound. So we'll start at the top so we see what I mean. You can just do different variations of that sound and just have that evolving over time. Changing have different effects to it like we did in the last video. So a lot of possibilities here, folks. Have fun with it. And I'll see the next one. 90. STEALING IDEAS : Stealing A Snare Roll: My focus in this section, it's all about stealing ideas from other sounds. So for this example, we're using a snare role. I mean, sometimes you might like the way the snare role builds. You might not like the sound to put your own sound in it or change. Use a totally different sound, it's up to you. You could use a heart, you could use a ride, you could use a tom. Then the day, it's all down to creativity. But I'll just show you a quick technique on how to go about it. If you right click, extract groove. If you come down to the groove file here you get the groove here. Just drop it on it comes up a new middy truck. Get rid of the first one, will switch it off. Keep it on. Now if you come out to the snare group, you click on there, it's on C one. Let's bump it up to C three. It's a root note for your instruments and simpler thug out the Midi. Come out the Id clip then just get your own sound. The beauty of this is it's got all the velocity settings as well, everything set for you. You don't have to mess about it, you don't have to build it from scratch. Just use all the velocity settings are there, then just put in your own sound so you get the idea and you can just drop it. You can just see the different tones, everything, each different sound has got a different character and just mess around it and just build from there. Because sometimes we think we're cheating, just when we grab something from a sample park, which I totally understand. But doing it this way takes away that element of cheating. And you're kind of building from there using your own sounds. 91. Stealing Chords For Arp Sequence: Next steel idea is stealing a progression from a pad and then turning it in like an Arp. Using your own Sound. You might like the corpogression of it, but you might not want the long evolving notes. But you want to use an appreciat P sound and just have that as your starting point for your truck to show you how you can go about that, I've just got four bar pattern here from a sample park. I'm just going to right click, convert harm rate and umiity truck, open it up but solo it back in. Let's delete all the top ones. I can delete that one, I think. Let's delete that one. We'll drag that one out. We'll drag this one out. Delete. Delete. Delete that little one. There you go. You've got a core progression. I picked it up pretty well. Sometimes it doesn't work, but I mean, that worked fine. Let's get a, so let's get the graceful keys. Drop it on, put that to zero, let's get a mide effect. Let's go to the, drop the Arp on. Let's get the different keys here, different types. So we've got that went for this, something like a tune at the end there. But I mean you get the idea that you go it's quick, fast and easy, just to steal progressions, to create your own Arps from pad sounds and sample parts. 92. Stealing From Pro Tracks: So this next one is all about stealing sounds from pro trucks. This is a starting point for starting your own idea. This could be quite a fun one, especially if you find some really clean sounds and professional tracks. Let's just get into it and I'll show you what I'm doing. I've got this truck here. It's a uneral remix of my original truck, Moonshine, which was out earlier this year on my label, Larcit Records. Usually what you find with Protruk is if you go to the end of the trucks, you'll find nine times out of ten you will find something. You'll find some clean sounds in there. So let's go through and see if we can steal from and's truck here. And we'll just start building our own idea. You can hear a lot of clean drum sounds. Let's steal this section. Come on Jake. What we're going to do is we're going to open up a drum rock. Rock drums, get a drum rack, drop it on. We're going to take that part of the and we're going to drop it in the drum rock. I'm going to take that sound. Let's go to the classic We spark, so we've got to kick there, mark it across. And then if we copy it, coming into the next one at nice one, copy it across. Going to this one. Got a clap in there. We can do some EQ and we can steal that clap. Come on, copy it across. I think there's a sound in here. Sorry, I'm just about to move that one. Let's put it back. That's a clap. Name it clap. You name the rename. Kick like a Tom Sound here, Red. Now if you right click on the sample and crop, that's going to crop. The Sound. We can park indoor. Think let's use it with that heart. It come in to crop now we've got one shot, right? Three. And just make sure the start markers on the start of the sample crop. Again, I think what we'll do there is, so the clap. Let's get an EQ on it. Let's put it out the hard cut and just roll it off. Perfect. Still slightly hear some of that kick. Let's find out to. It's got an EQ, you can see it's like a hat. Sound Here, let's throw it off. We're going to use some drive in there to clean that, a harmonics. But I'll do for now. Let's put the heart that's pretty clean, let's keep it as it is. The kick, you can see there's a hit at the end in the house here and you can hear it. We roll it off. We can't hear it. Then with the heart, let's copy it. Hold down the option key, Drop it up. Rename Click. We use that for the upper part of the kick. Pull back to sustain the key right down. Look, let's put it there. Let's get to the drum rock. Let's draw a t bar pattern. Lap it. So now we've got our sounds. Let's go in and just start drawing a pattern. Kick the cut one off. Let's put the click on as well. Let's turn the decay down the heart to we've got a little groove going that's going to Tom it's got to drive. Get an over drive drop on West Mess around the pre delay. Let's get over drive at the end of it. But we'll group the two of them together on shift. Make sure the two of these are highlighted. Shift hold the key, come on, open it up, duplicate it out. And then this one delete the effects we at the dry, wet signal. This is then, this is the reverb 100% wet. Let's try and get something from the like a melodic type sign. We'll have like a texture. Let's stick that part there. Highlighted command Jake. I'm going to drag it and put it underneath the drum rock. I'm going to turn the volume down. Let's try stretching it. Let's got a complex pitch it down. Let's go there. Thank you. You've got a texture sound. They go, folks that stealing sounds from professionals just to use as a starting point for creating your own ideas. 93. Stealing MIDI: Folks, this one is all about stealing like Midi patterns from professional tracks. Sometimes you want to start a truck stuck in ideas, but you'll be listening to music if you like, you like a certain sound, a certain pattern or something in a trock, think how can I do that? A couple of ways you can do it, you can transcribe it. Or sometimes what I find is you can get some pretty interesting results just by converting to melody. I've got this track here by, it's a unroll remix of my track, Moonshine. I'm just going to copy. I like that part there. A command E, The command J consolidates that section. I'm going to right click and convert Mel Date and Numidy truck. Now this is just gonna be for our starting point for our track. We come in, just switch up. Were off coming to this clip and let's listen to it. Let's delete these bottom words. Let's bring it in. Delete that last part. And we've got a kind of sequence here. It's a lu bit. Delete that one. Cool, let's let the mark come on you. Let's pitch it down. Let's get a different sound in, Let's get this one down one more octave. Let's get a drum beat on it. It's just cool for a starting point, it's a starting point for a truck. It's a pattern, it's a base pattern. You can duplicate that out by pitching it using a octave. You just have it over that 1 bar pitch that up 123457. Get the idea though, it's just stealing pattern just works really well. You could get a drum loop, you can maybe get a drum part of a rocket. You really like, you like the groove. You could just come on J, right click and slice, convert drums to new middy truck. Now you've got all your drum. You get the heart, You get the kick. Take kicks out, sounds. Quantize the kick, take the snare, that out. Listen to the high heart. It's got the groove. It's got the groove in it. It's another good technique and you can start dropping in your own drum racks and just start messing around that way. Let's stealing mid pro trucks. Let's see what else we got. You can imagine that whole part there. You can convert harmony in source lots, you can do with it next time you've got a professional truck at you, like if you like the sound or the patterns they or the melds or even the drum grooves, just use that, drop the truck. Just start using the convert functions. Convert harmony, convert the convert drums. Just start using that functions here. Just to pull out some med information that you like and just use them to start your own idea. 94. Filtering Pro Tracks: This is all about filtering out parts of a truck. It's going to sit underneath like an idea that you have for our starting point to start layering up sounds on the filtered out part of the truck. I'll just show you what I mean. I've got this part here, the Ur and roll remix of my truck Moonshine, just 4 bars there and I'm going to come on J. Then I'm just going to grab, I'm going to start an audio track. I'm just going to drag it down here. We switch these off for now. And let's just go into the sound, pull the volume down mind say also if the committee here go to the complex mode, we're going to pitch it down. Let's go down five semitones. Let's get the fil, let's get the EQ on it. Let's see what happens when you D because what happens here is when you start adding sounds on top of it, it's stall there and it can spark some inspiration to add other sounds and the other melodies. But just for now, I've got like a baseline and a kick. Let's come into the clip that we've copied and we're going to move the start marker just to nerves the pattern off. Move it forward, 16 to 16th, go over row. So we went from this part, stealing that part there, pitching it down, moving the start marker and move the layer that up with a kick in a bass. See how you can just quickly come up with ideas. And sometimes like the loops that you get from pro tracts can really spark inspiration to start ordering different melodic ideas as well. And top the legs are base and that kicks out. Try that, open out folks, and I'll see in the next one. 95. SEQUENCER IDEAS : Ideas Starter With Rozzer: You've probably noticed I've been using Razer quite a lot in the video. So I want to show you a techniques use the more advanced part just to trigger ideas. Just to record some audio and find some cool sounds. Just by mapping these different parameters, the parameters on the like a wave table. Just a good way to start a truck, start generating different ideas, get different sounds. You're going to get a wave table, drop on a Mi truck, insert mitrop wave table on and then get the razor step sequencer as well. Drop it on. The first thing we're going to do here, we've got a basic Sid wave, let's change it to a sawlo just quickly. This part here, you've got 12345 different parameters, sections that you can set. If you come over here, you get parameter 1,234.5 just like anything else like the pitch, the octave and velocity. You can change the different settings in here just by hitting. You go to parameter one random, it's going to play different patterns. How does that affect the sounds? Well, if you come into this part here, we go to number one. Then if you go to this truck wave table, click and wavetable device, go to the wave table again, and then you can pick the parameters on the wave table that you can get affected by the sequencer slits. Do the filter frequency first. Hit Play. It opens and closes. You can smooth, smooth it out a bit, carves open that way. Bring it back more at the bottom. Have it set around there. The co, just leave it as it is. The jitter just randomly jumps. So let's just keep set to zero. Again, we've got five players. Let's go to number two. Let's go to this wave table. Wave table again, Peter. This time let's, let's go to unison. The two. Then we hit Randomize. It's just going to jump between the different amounts. Number three, this track wave table, device wave table parameter. This time we will do oscillator one. Let's go to effect, change it to modern number three. And again just hit random. It's just going to change between all the different effects. Let's go one more to four track, go to this track device to mixer parameter rebs affecting the ReberbI do. Here is I want to insert an audio track and I want to do audio number two wave table, we're gonna switch off arm and just hit record. We'll just record a bunch of audio. We'll just keep hitting random in the dance. Randomize all Got you. Tot. Let's just go with that. Let's go to the wave table. We've got some audio to play with. Start picking up some ideas now let's loop, let's loop it over a bar. Switch on, let's maybe do half a bar, quite like that one. And then you just go through them all and duplicate them out it, keep it and then come on to the next one and just go through the audio and just pick out partons if you like. Just same as what we've done in previous videos. It's just a new way of recording the audio. Let's get to filter quite like that but you get the idea of folks have fun with try with different S. I tried it there with wavetable through operator FM synth with the analog trot with anything, third party plug ins and just get razor and map all the parameters to different parameters inside the synth. Any effects or for that matter you could always go into other effects on other trucks and map the parameters there too. Then the patterns that are getting on the wave table, for example, are also getting triggered on the other trucks as well. If that makes sense, I fun with that folks and I'll see in the next. 96. ML - 185 Sequencer Idea starter: Folks of this. Next sequencer I'd like to show you is the ML 185 sequencer. It's a marks for live device, simple sequencer. Quick quick walk through. You've got your pitch velocity in your volume. They can all be randomized. You hit the random bottom, you come in the velocity, you can randomize the velocity, and then the volume can randomize the volume. What I find works really well with this type of sequencer is on baselines. I like to use baselines from loops. I'll put it in the slice more simpler, but what I'll do is I'll record, record a sequence, then I'll duplicate it out and record other sequences with different baselines. You can get some really cool contrasts between the two different base lines. You can get some good results so that it's a good way to start just getting a base groove going for your truck. Let's just do something like that. We get an idea going just to show you how it works. Just a new copy of it on Delete that one. If we just go to base, let's get, we'll start off with that, let's drop it in to slice mode. Now you've only got three slices with this type of base way around that. If you come in to slice by trans, let's go to the region, then we'll bump the regions up. Now we've got more motor play with the motor can be picked up by the sequencer. Let's just random and press plate fade out. Now you've got these buttons here, you've got the directions. You can go backwards, then you can go forwards and back. Then you get random, which is cool. You can record the audio as well. Now you've got the different numbers here. Now what this is is the amount of steps. So it'll play once and move on to the next. But if you've got it in two, it'll play on pause once and then move on to the next one. That's worth messing around with, but I won't go through all that. I won't start messing around too much with just now. We'll just focus on using the random button in the different directions, which are fined as the quickest way to come up with results. Now you can switch some of these off. So you want to pause some of the sounds so they don't play and just have other sounds playing. You can mute them by using the 0.1 function here. Look, that goes well with a pattern. But we've got here, so let's keep that one. Let's duplicate it out. If we coming into this one, let's get another instance, ML 185. Drop it on here and we'll get a different sound this time. So we've got, let's get that one even that sounds good, but we'll hit random. I need you right switch this one off. You can see you come up with ideas pretty quick. So then you could always just get an audio track and then audio, let's record it in so we've got more control over the audio now let's delete that second one. Let's come into this one. I'll try to do something else for this one. Our base out play that one. Thank you. Used a swipe. You get the idea. You can just come up with base patterns. Super quick record to audio, you'll get more control over the sound. You can do randomize the different patterns, also the velocity and the axillary whenever done that as well, but you can do that as well. You can mute out sounds by using this little buttons here. Then you can decide how long the sounds, these are basically hits. So that will be like two hits before the next sound, plays three hits before the next sound, and so on. So have a lot of fun with it, just dropping loops in the slice. More and simpler experiment as always, and I'll see you in the next. 97. Aicd Step Sequencer Idea Generator: Folk. And this one is all about the acid step sequencer. Well, I'm assuming it's acid that's spelled CD, but it's acid sequencer. I'm guessing by the funky face here on the Generate button. It's a cool little sequencer, Fergus, generating ideas the same as all sequencers. You can get some really interesting, interesting patterns and stuff by using an operator. I'll just go through the percussion loop as well on the slice function, but there's a couple of functions in acid that makes it pretty cool. Let's go through the parameters first. You've got the generate button, basically just generates a new pattern. You can just keep hitting that until you find patterns that you like temp. Now this results in the higher the value, it results in more random patterns. So you push it up, it'll be a much more random pattern. Whereas, if it's down this way, it'll be a more musical sound and pattern. A makes sense. Then you get a presets 1234, all the way up to 28. Now you can save presets, and there basically recalls the preset number. You can medi map it. So just say for example you want to medimop, then you can medi map this pattern here. Then you can just set it to recall any pattern that you like when it comes to up. But we're not going to go into that for this tutorial. This is about generating ideas when you get a length, obviously length is the length of loop 16 all the way up to 64 bars, but we'll keep it at 16 there. Velocity, maximum minimum values down to zero, up to 27. Let's keep it around 100. And obviously a piano roll, you can zoom in, Zoom out just like the Ableton one. And then the buttons at the side here, you can shorten the loop this way as well. You have it over 3 bars to 16, so you get this button here. Any rows that haven't got any notes. If you fold it, just like the fold button inside a clip view, when you go into Ableton Clip View, it just displays the notes that are visible in the row. So let's delete that. If you go to zoom, don't worry about the zoom clip. Then you get clip so you can create a clip. You hit Create Clip. As you see it comes up here and operator, and it's got all the Midi information on it, so there's no record set up like a Midi device for recording. I mean you can for generating random, but if you just find part, if you're just looking for smaller patterns that you like, you can just create the clip and it comes up generates basically this pattern here, same as that pattern generate, then you don't worry about the out function. And then for this pattern here, you can just move the notes along just to try out different starting points in the pattern. Don't worry about the fixed gate, it just opens the gate for all the steps there, The visibility of the different options. You've got a we've pitch, it's our pitch. Generate different pitch patterns and you get velocity, randomly generate the velocity, slide generates the slide function as well. You've got the gate, which basically randomly cuts out any notes. That's basically for the acid steps. I've got an operator on here. I've just messed around with a couple of the oscillators. Nothing too major, a triangle sign, sign way for like a bell type melody. Let's just go ahead and generate some ideas and I'll just show you what I'd like to do it when it comes to creating ideas for the truck. Just hit play straight away. I quite like that. So we heard the clip. The clip. Here's do a couple more. Might as well get that clip. Nice look at that one. Let's put the temper up. Let's see what happens. Quite like that, 11 more. Let's take that one. So then what we do now is switch the S. Let's come in the clips. Let's go to the scale C major. Let's make it C minor. Let's fold it. Now we've got the E buttons, the notes, let's bump them up. Let's hit fold and fold again. Now we've got everything on the scale of minor. What we do there is duplicate it out. Try shifting some of these notes. Try and inverting. Then you could always highlight them all. Maybe take that second one down. Take that last part. It down, you get what I mean? You could just create different patterns. Looks are coming in here, I say right. Okay. Let's insert a Midi track. Let's get an instrument, basic bass. Drop it in, let's throw it across. I quite like that. So what we do then is I would just run that. Let's sign truck Eclipse. Let's just here how these sound first though. So that two them two sound pretty good together. These two here. So we run with that 21. More thing you could do with the ser, just get loops on it. Get the slice, I'll put this percussion loop pre, and if you just hit it into slice mode now it's going to play a random spits of the sound. So let's try do something with that then. I quite like that first part here. Then I would come into the gate. I would take that one out and I would just shut off all that notes. Have that one, let's velocity. Put these up back to the gate we're generating. If you get a different percussion loop, it's all just about experimenting. If you don't like the sound of something, just swap it out. How that fade out. If you get a sound that you like, record it out, the audio and then you just go from there. So I'd like to two sounded together. It's two different patterns. This 1.2 totally different patterns, but they're both on the same key and the sound really nice together. From there you would add like maybe a chord or an underlying part. Sound Then going to building more percussion loops, et cetera. So you could just build, build, and build. Just build all these different ideas that go well together inside a session view, ready for arrangement. Then taking all the techniques from before as well, use them to further enhance the sounds. Just to spark some more inspiration in your workf folks, I hope that helps. Have fun with it and I'll see the next one. 98. Snake Step Sequencer Idea: So this one's all about the snake step sequencer. It's another cool sequencer. I mean, a lot of the sequencers, okay, you get kind of the same results, same idea, but some of them just give off something different and just spark some different ideas in your workflow. So we're just going to give you a basic idea and a basic starting point for the snake. And just show you what can be done with it and then just what you can do when it comes to starting like a truck and then starting like melody ideas. So let's get the snake on and drop it on the operator. We're just going to hit play. So it will solo it. As you can see here, it just goes up through the different settings. So we go to notes, See all the way up the D two, you've al get your forwards, you get backwards down and this one starts, goes forward, you get random speed steps. Cool. Now if we go to gates, gates, same idea. You get a different directions, speed steps, the gate controls and note limps If we go to eight, now let's put the speed 32 just flushes, so if we go to eight, park the gate. It's on eight as well. Let's go to 32. Can park the notes. Now we hear the notes. Now because the gate is on 32, the notes are getting doubled up. Now you've got different steps as well, super fin through that. All I want to focus on here is the notes in the gates and velocity as you know yourself, you can randomize them and you can do a custom, we can save different presets here in the custom section. But let's go to the notes again. Now you've got the random function. Let's hit the random, let's put the gate bark at eight. Now what you can do here as well, if you go to snake shapes, you could change the shape. I find cool about this is because we're in the key. We're in the scale, let's go to in. It's now in the scale of minor. All the notes are in the scale of minor. And you've got your shapes. What we can do is we can group the snake. Let's go to macros. Change the macro one, the snakes shapes. Now just listen to my press plate and we'll just change through the different shapes. You can get really nice Melby progressions, so you could change the shape. Let's mark the speed, let's go to the gate and mark the speed of the gate. To mark two, just by changing the shapes, you could automate the shape and a clip and record that mid to record out a Midi part. And so let's do that. I think the best way to do it would be we come into operator, let's just make it 16 bars. Now we've got the 16 bars. Now if we insert a Midi truck, let's do mid from number one operator. Now we've got the Midi information coming through. So if you go to operator and then we're going to click on the snake shapes, come in to operate again. So let's start in five for 4 bars, let's just cut the seven, let's go up to ten, and let's all the way down to zero. Let's see how that works, card. So you've got a 16 bar clip. If the Midi pattern let's it side dropping it in the Anologe. Sound Hear that? Sounds. Let's try bumping these up. An octave two. Let's try. Let's see what size the notes are. 32 notes. Let's go 16 notes. That sounds like a start. Let's loop. Maybe that sounds not the best, best demonstration for it, but this one's as well. For four. Let's do them all up to 9 bars. Let's holding the shift key, get rid of that one. Let's just pull them out. If we come in here, throw it back at the operator at a better sound and sound Switch off the snake and press roping in, raving sounds. You just get the idea you can really get some evolving patterns just by using the different snake shapes in the snake so it's bark into it. So just to summarize, just go over the notes. Just try using the random functions as well. Let's switch it back on. Let's delete these. If you hit the random baton, you get different, a different base on those 16 notes. It changes the shape. Pretty cool. So you get some proper cool sound of Mel days. And again, you could always just record the medium because you're messing around with the different snake shapes. Try around with a different speeds, you can get a little little flurrier notes. So I fund that folks, such a snake sequencer. And I'll see in the next. 99. Instant Haus Track Starter: So this one's all about the instant house step sequence. Now the instant house, it's a mark for live device. It's originally built for like drum grooves, but I like to try something different with it, so we're going to do some melodic ideas with it. If you want to try drum sounds, fair enough, it's up to you. But let's just do the synth sounds just to show you what you can do as well. And that's always sparked some inspiration in your workflow. So I've just get these different synth sounds. They're Am minor, they're just from different, they're just from different, different sample parts. It's good to pick out sounds that you like to think to work well. Put them in the same key, but they've all got different characteristics from each other. If we just put an instant house, let's grab it, drop it in before the drum rock. Now in each sound I've set the classic mode apart from this one shot here, which I've pulled there. And just put the fade out just to car chart first part of the sound. You can always move that across and try different parts, but we'll just keep it there for now. Now, each, so what I did was I've just got them a classic mode and if you're right, I've got everything set to release quite short. You can tweak that as you want. But if you want to do, if you want to do it across all the same sounds, just put copy value siblings. Then that puts the exact same setting in each sound. So it's all quite tight, tight knit, that makes sense. Each sound is on the on key. I'm not putting anything on the kick note. I don't want to play any sound in the kick notes. I've left one off. I've, I've got the sounds on 1t1t1 and D sharp two on the drum rock. You'll see them here is G sharp, which is getting affected by this one short one. That's D1t1, A short one getting affected by them. If you just hit play, Instant House is going to automatically spit out the Midi. Hear the sounds play. We'll sew it first, a drumbeat. So what you can do here to set roundabouts in the pattern. They can go in here and just tweak the sounds, make them, they could also have different effects to each one. It's better re button to this one. We drop it onto this part here. So we grab the reverb, make sure you drop it onto the actual chain itself. Let's get over, drive this one. Let's get an echo. He backed down. Pink bone. Eight thoughts. The sound Let's got a delay on that. Let's cut your top pink bone. It's got a heba dre verb. In the last one I want to hear drop on, you know what sounds. Let's get an odle filter on that one. For some reason the filter is not working in the simpler. Let's go to the base. I've got some base sounds again, let's random sounds all in classic mode. And release is set to copy. Volume. All signs they are all set the same release time, they're just different types of one shot. So let's get the instant house again. This time we'll just see if we can come up like a base part to go with that sounds. Swap the signs out, thank you, so you get the idea are in different sounds, you can drop in another one. You get yourself some percussive hits like congas and bongos do the same again and before you know it, you've got a good solid sound and groove idea with some melodic instruments in there. And you can go and add like maybe a lead sound on top of that. And then as I said before, go through all the videos that are in the park and just enhance the sounds, make variations, do layers, et cetera. Just pick out different techniques and just add different stuff, do it. That's just another idea for another Thg starter in the instant house. 100. IMPORTANCE OF EXPERIMENTATION : Just Play 1 (Operator): Folks. So this one I just want to demonstrate how important it is just to mess around and play with, for example, one of the able instruments like operator for example. Because for years I would put it off. I would look at certain instruments, I would look at things. I'd take one look at the operator and just say, I have no idea what these do. I have no idea. And I keep telling me that no idea and it's a power of words. If I'm telling myself that I have no idea to do something, I will have no idea. The more you mess around with all the different parameters and what they do, the more your ear becomes accustomed to what the things actually do. I mean, I'm still not 100% sure about every single little detail operator. I do know the very basics called the oscillators. The envelope shapes, the filter, the pitch, all these things you're understor, but you've got all the other things that come with it. For example, if you come down here, you've got all these mapping parts, you've got the algorithms. At the end of the day, it's all about just playing with it and seeing what you can come up with. Because sometimes when you do this, you'll come up with something unique. In fact, most of the time when you do it, you come up with something unique and something that you've never heard before or you haven't heard it before in a track. And it just sounds cool, but like the idea that you've got. I just want to demonstrate the importance of doing that. And then come out the other end of the video with something that we're happy with, some kind of sound that we're going to be happy with, and it's going to fit with this loop. So it's not going to be much talking. I do what I like to do, I'll just mess around with all the parameters and just shoot and come up with, at the end of it, different videos, not much speaking, not much explainingce, more of a doing video. But hopefully you'll take some inspiration and grab an instrument yourself and come up with something that you like. I've just grabbed the operator on here and all I'm going to do is a good starting point anyway for me is just whatever key the trucks in, this is a sharp. I'm just going to hit the gotto. I've got a note there to start with, and I'm just going to hit play and then just mess around with the different parameters. Do, do, do, do, do, do, do, do, do, do, do, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow out, wow, wow, wow out, wow, wow out, wow, wow, wow, wow, wow, wow, wow, wow, wow Differ, J, J, J, J, J, J, J, J. On, don't, don't, don't, don't, don't, don't don't, don't do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, don't, do, do, do, do, do, do, do, do, do, do, do, do, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, not in in in in folks just mess, mess around with Operator don't be afraid to push all the parameters, see what they do, see what the envelopes do, just mess around up a couple of parameters you think would work. Then you can obviously use them if it came to like arrangement purposes or whatever, but you get the idea, just mess around with it. It can sometimes some inspiration in your workflow. Okay folks, I'll see. 101. Just Play 2 (Drift): I focus on this one. Want to demonstrate what can be done with auto filter and able to modulate our LFO? We're going to use one of the sins. Again, same set up as before. I'm just going to create a note and then we're just going to take it from there. No talking, just messing around with different parameters to see what sounds we can come up with and see what we can find to fit in the truck. Again, it's all about just observation. Just try and take some inspiration from it to create your own sounds. We'll just crack on Insert Mi truck. We'll get an audio truck as well. So we're going to record audio. We'll record the whole time we're messing around, just so just in case there's any happy Oxidants audio instrument. First, let's go Instruments. I think I'm going to use the Drift. I haven't really used this one yet so let's just pop it on. And then the audio from number 18, Drift. I'll go switch off in the man key arm's receive an audio from here and then Drift. I'm just going to drawing a couple of random notes, I'll do. Five, I like that sound. Nice deep click, star, bass type sound. As you can see folks, it is quite quick if you just switch off, just get honed in, throw on a couple of notes, and just start messing around the different parameters and just push it from there. What I find works, once I get the actual shape of the sound and the tone of the sound, I like just adding these extra effects, especially over drive. It works really well, then echo to other movement in the sound. I hope you took some inspiration for that one folks, and I'll see the next one. 102. Just Play 3 (Soundscapes): We're going to create like a soundscape sound. I'm just going to take any sound out the sample library, we're going to drop it in. We're going to stretch it, warp it, twist it, flip it, add some effects to it. At the other end of the video, we should have an evolving soundscape type texture. But we'll just go through all the effects. Use the effects that we need and just mess around. Just play with it. You know the setup, There'll be no talking. I'm just going to go for it, grab a sound, and we'll just take it from there, So a. 103. Outro: Folks. So if you're watching this, I'm guessing you've made it to the end of the course. Well done, and I hope the course has helped you spark up creative side of the brain and helped you develop as a music producer and help you come up with more original unique ideas. Please please share your projects. Share techniques that you've used. Let me know how you got on with them. Share a video displaying like one of the techniques that you've used. If you can please leave a review, be much appreciated. It would help me grow on the platform. Help me get noticed. Never stop learning. Keep thinking outside the box. Keep being creative and just keep pushing the boundaries and find your own sound. Okay folks, take care and I'll see you soon.