Ableton Live | Outside The Box | Audio Resampling

1. Intro: My name's Ross and welcome to my course, thinking outside the box and they were alive. This is part one. And we focus on audio resorbable, the cupboard different ways to creatively use audio and your trucks. For example, type stretching with the pitch shift and some convolution reverb, resolve them. Some granular synthesis resolved been just a little cool techniques. Take an implementing your own work. For the start of each video, we'll go through the technique step-by-step to show you how it's actually achieve. And then at the end of the video, like a truck implementation, I just show you how I've used it in the context of a truck. I really hope you take something from the course. Something I really enjoyed doing it in part due to it's all gonna be alright. Maybe, maybe worked for being created remedy on. If you can, please. Give us a like, give us a sharp, give us some feedback, would be much appreciated. So with that being said, there's quite a lot to go through. So I'll let you get on the course on oxygen 2. Reverse Resampling: Hi folks, and welcome to the first class in the resampling marginal cost. In the first lesson, we're gonna learn about reverse resampling, which is a super cool and handy little tip, the hub in your toolbox when it comes down right in your tracks. Especially for transition effect. Also felt like layering up vocals. You can also lay it up since male with these walks in quite a lot of things, but at the end of the day it's all about experimentation and throwing this technique out and various different sounds when it comes down to writing your truck. So the first thing we're gonna do is we're just going to set it up, create the effects. I'll show you how to create the effect. And at the end of the class, we're going to implement it in our thorax and audio just to give you an idea of how the effect works when it comes down right in your tracks and hopefully spark some creativity in your shelves. So let's get started. So the first thing you want to set up, you want to set up two audio tracks. So if you right-click and just hit on all your truck. So we need two of them. So for the second one here, we're going to set this one re-sampling. So we hit the Run button here. And then your arm, the truck. That means any audio that is played will automatically be fed through this channel here, which we can record the arrangement view here. If you've got your sample park that comes with the course, you've got less than one and you'll find that the sample here, come find me. So we'll just drop that on the resume and the shampoo. And you can see started a bit late, so we'll just grab it and stick it on the first beat. Sounds like this. Let's turn it down the minus five dB. And the first thing you're going to grab is echo. Throw up on. You wouldn't set the feedback up to around 100%. Say the ping-pong, and keep the dry weight of 70%, that's fine. Whereas if we go to dynamics and you want to grab a woman artist to protect their ears. And if we hit play, we nice suit just to echo again, just to get rid of the echo, switch it back on. If you grab a overdrive. What I wanted to do here is just grab some of this makes some of the upper upper frequencies cannot pop up that too much. Dry weight down. Dr. down slightly. We get a reverb reverb on it to see 2 s. So that's a score like our effect size up. What we want to do is record it to audio so we can play with it some more. So if you just make sure you're re-sampling is set and it's armed, the thorax armed. And then just come up here and hit Record. We'll just let that run over 8 bar should we've got an eight bar loop. Now affect command. We will kick off the overdrive and we'll keep the rebar ball would just come into the recorded audio fewer n. We just hit Command J. Then if you just hit R on the keyboard, NOT reverses the sample. Now effect. So now if you drag it across here and have it play just before the vocal comes in, we'll just play it from there. Really nice. So now I would pull the feedback down and not one, because we don't need so much of the effect. Now, pull the throwaway it down. And I find box as well. If you pull it back, a little bit of silence there before they, before it drops back in. And we will also copy the reverb from here. Throw up on just slightly more decay, about 3 s. Let's hear that. So it looks really, really nice when it comes to writing your trucks. Really smooth transitions and gives us a sense of anticipation when the sound is coming. And then you go over so you get the recognise sound when it kicks in. So let's heat up a truck scenario. So we will just open this part up. Hopefully this will spark some creativity in your own session. So basically it seems set up. We've got the vocal seem happen, and we've got the recorded audio which is reversed as you can see here. And then I've also just for an extra space, dropped it down here and reverse that as well. And just kept the echo on it just for a bit of variation. And I've got a kick here, some base, and then we've got some hearts and percussion, et cetera, that come into this section here. So let's listen to how it sounds. So that's how it works. It's really, really nice for a Alden. You could stretch a good few bars. I mean, not to eat 616 bar, excuse not to sound different way reversed and use an effect. So like I said, it's a super cool trick to have in your toolbox and it's just great for transactions, etc. And disjoint and keep the sections in thrashed and overtime 3. Time Stretching: Hi folks, Welcome to lesson two in the resample and masterclass. In today's tutorial, we're going to focus on time stretching, just going through the various different algorithms you have available inside of Ableton audio clip view. Once here, we've got peach tones, texture, read, patch, Complex and Complex Pro. Each one gives off its own unique character, has a different effect on the sound, will go through a couple of ideas for recording and manipulating the audio. And at the end we'll just implement it in a truck just to give you an idea of what you do with the sound on their progress is sound from what you already have. So we're just starting off with what we heard yesterday. We'll be using the same vocal. We're just gonna do something slightly different to what we've done yesterday. On the first thing we're just going to do here is tidy up the vocals. We're just going to pull on that start marker into the first transient. And then, as you can see here, tidy, It's locked in the grid. Just pull up and then just highlight 1 bar, hit Command J. So if we just highlight the whole clip and hit Command U brings up the warp markers here, so we hit play and just drag out the markers. Will loop. Just like the markers. It's never going to smash those shoulders, go through the different settings here. So you can pitch. You've got three different options here are these give off different characters. The first one, it's more like a throne Xin shape our SUV press play on the pill box and the number who bought and Dale bark and the number here. See how it just tightens up the song. Billie Holiday for like Shaker Loops can cool the next one. As you can hear, there's no silence in-between each as the post that as well. Let's just loops. Loops are sound can go ahead to the next marker. Then same with this one big set because forward and bark. Very similar. These two byte is slight subtle difference. Pretty cool stuff. So that's a beat. So you've got all the transients here. I mean, you could count on 16th. Uh, we, we hit the 16th. The first order or a fake. Pretty cool. And I will quote unquote, you get the idea. It's almost like a Staedtler. Franklin works great and sustained pods. So I'll speed small bowel. Sounds great. When you hear her affect assignment, maybe duplicate it out. So if you hit the times du button here, lots of stretches out the twice his size. So we just throw that out. There are really cool. And we've got the texture. The flux buttons like a random button for the star review wasn't there. The gray. I'm just wasn't there was a push up the flux. It's almost like a randomized function. Cooper, I'm a mess about with us texture. You've got repurchase. Because the audio stretched out means it comes down in pitch unless it's warped. But with three patch, it just pushes it back to the level. It should be really cool for vocal effects or margin not like reverb and delay or destroy it. It's a bit like a Friday without infant Jason. Pretty cool. I got a halt and taper. Take my tape effect. Complex and Complex Pro. These are both pretty much similar. They're good for like keeping the car Good for electron and keep the current stretched. But like I said, always rough experiment and through the different ones. All of them. And just finding which one works best for you and which one you like the best sound off to implement in your thorax. So without being said, we've went through this now, just a basic runthrough over. I'm a great believer in doing so. We just spend our time and just get into again through what each one does can really help your workflow. So let's try texture. I like this one where the bet the bear. So we'll run with this one. And what we're gonna do is we'll have a resort and track set up, set the resample on here on the truck. We're just going to hit Record and then just mess around with the grain size. As this recording, the audio. Group maybe stretch it out one more time. Names2 command. We go in here, times two, right? Okay, we've got BPM limit reached. Know there's a way around this. So if you right-click, Right-click and then maybe flatten the truck. There aren't means a resets, everything captures the effect and the audios and we've got the standard effect then there without having their style effect and the algorithm can. So if you hit time, students should work for staying. There we go. So we've got that now. 4 bar will just hit record and we'll mess around with the green again. So we'll just hit record. There we go to all walk around with that. I'm happy with that. So we've got beyond the week. You've now got another effect, time selection effect. So then from there, you could always go on. Maybe just take that first part. You can delete that command J when you get this first part here. And then we could stretch it out. Say twice. Shoes off first part here. Let's get the texture on again. This button here, and we'll get the fridge and just fade out that last part. Cool. Not just got another sound effect for our truck. Hi, I'm Sue. We go crop an echo. Strife coordinates. Some reverb, like about overdrive as well, just to be sum of the frequencies ever bought something totally different from the original. So again, you could resample that again on another audio track record, not the audio reverser footprint like we've done in the first video. There's so much you can do there, but that's your time. Stretch them. How you get different effects in different tones and you can change the sounds that you have. Display applying those effects and then using them your thoughts. So let's go into the truck implementation now it will switch slot went off for coming here. And I've got this part here from the first lesson. And all I've done here is of time stretched. The first part of the sound that we saw it, and I've added some overdrive, an echo, which you're already behind the pitched it down five semi-tones. After that, I just took this showed a duplicate. Press two times two button, reverse that. Now we've got up here and it sounds almost like a horn. It's just sitting in the original pitch. So here is a quick way. It should be reversed. Here it was like before it reversed and n sorting of times it by two. There we go. There. It's not sound. Zork same. So then times two twice, and then just highway TO reverse. And there you go. You've got cool. So we'll listen to it. If the whole truck unless you've got so far legal folks, such a time stretch resampled. It's another handy to have in your toolkit is to summarize measuring all the different algorithms you get inside the audio clip view and just find the right ones that work for you and work for the sounds that you've gotten your truck. Okay. Folks, Take care 4. Pitch Shifting: Hi folks, Russia and welcome to the third lesson in the resort, but masterclass. In this lesson we're going to focus on pitch shifting, resorbable. And I'm going to show you a number of ways and techniques that you can use in your trucks are using the picture function inside of audio clips. So we have a lot to go through. So we'll just Kroc all just like the first two videos, we're just going to use this vocal sample once again here. But this time we're just going to use the first part. We're going to record the audio that we need. And then I'll go through the different steps to take when you're using the pitch shift and functions and say the audio clip. So if you get your vocal one shot on the truck or the audio track. Now I've got a reverb here for switch are old and decays all the way up to 60 s. We could throw away 100 per cent or switched off the cooler, suspend the filters on the dance, a offset the high. And we're just going to take the vocal and we're just going to take off thought two parts and just have the first, the first part here. When you open the vocal app, there's a start point. They are just trim the end just to the start of the vocal. If we leave our bone, and this is what it sounds like. We're just going to record a good chunk of audio and user par to come up with some pitch shift and affects. Usual, if you get the second oldest rocks factory serpent and arm the truck and then just hit record and press play. Perfect. So we'll switch reverb off on this one. We'll just turn it off. We don't need it. The next clip, I think what we'll use as if we use 8 bar from 51, 59. So we just hit Command J R console with the top section. We can delete this part and delete this part. Now, we've got an eight bar and eight bar loop on the B. Just hit the button. There we go. We've got this. So the commentary on there is two parts. You can mess around with. A pet should get the pitch button here obviously. So when we hit play, That's one way of doing it. You could always arm another truck got and re-sample it and record will mess around with the patch, but there's a much better way to do it if you come into the envelope button here and you've got clip, clip EQ at mixer. If you click on the clip button and then if you get the stroke by Main Menu here you've got the gain and the transposition have you select Thrones position. And what that does is it gives you control in the grid to change the transpose the patch on the sound. I mean, you could do all sorts of things. You could duplicate that. Which up. So you can, you can do maybe like a rise in pitch effect where you can just crank up, see 12 semitones, 12, 24. If you come into the span here, you've got the outer envelopes, then just click this button here. This takes you back to the algorithms. You can mess around with the different algorithms. So same again and just give off different textures. So just like we learned in the last videos, you can mess around with these, but we'll keep it in Complex Pro for now. So we've become bark and the envelope clip. If you go to a transpose. And what I'd like to do for this effect as I want to use another function which is pretty handy and say that if we just zoom in a bit to be Highway 4/16 and then you right-click. You've got these shapes here, you can add them. You've got a sine wave, a triangle, downwards, saw upward, so square. And then you've got these different random ones here. That's like an ADSR shape here But why wouldn't you use here as the downwards, the downward sore? And it's automatically right up at the top. But for a sex. So if you click on the node and bring it right down to zero, then this one here is at -48. If you bring that up to 24, then you're just going to Highway. Highway it duplicate it out right across the 8 bar. Like but it sounds like this. So I come back and equip the comeback and throwing spores just gives you control and gives you a different, different fields of effects as you're creating the envelopes. But we'll delete that. I think I want to make it half that size. So we'll just see him again highway it right quick, downward. So take that one. You make sure all those who walk down, this one just pull up again at 24. We're just highlight that section again and duplicate it out the bars. Now, what I wanna do here at this last part, the highway, that whole section, and you've got the nodes at the top. If you prove them up, who say, maybe go with 17 whatnot, we'll just go with 12. And then just click out there so it gets rid of the highlight. Then if we cool them down, make sure these ones just pull them down slightly as well. Thanks. Sure. Doesn't have to be born on. Just experiment with it. Now. What's going to happen here is we can ramp them up. It should give off a better effect. Throwing up. You can hear the effect. It's almost like a belt tension, maybe in a break he could use that. So let's say, let's grab some effects. Let's do the usual, let's get the overdrive and we just highway or section we drive down right where I'm pointing. Just mess around with it until you find something that sounds nice them or grab the echo. Um, we'll set the feedback up to about 95. And we'll get pink ball and keep it at 70%. So you can hear that fact they are. So it's really cool. And then we get the reverb. It bark separate 3 s. If we change the time to four, she can hear that pitch air go into the next section. That would be pretty cool when it comes to wake up. You're going to break down, you've got that building up. Maybe have our car crash here are shown Louis, cool, just for, just for our than tension and release. The AMC debit 200 hz. If we got a compressor on this side chain from the Keck, soft touch KYC difference The pumping effect seen with the aim of the effect, the tilde tilde effect that still carries on a pump. Even though it's not playing. Do something about searching. Pull the throwaway down in the reverb of it. Going up. Not using pitch of x should come back. And like I said, you've got the envelopes. Then we'll just start downward and downward short experiment with the different, the different shapes that you get. These different ones here, try there the upward Shaw, I mean, you could try the square. The sine is just give off different tones, different timings. For example, here with every, every eighth, eighth notes. Or if we could do like a polyrhythm type. So you could do every three, every three right-click the downwards and then it's just going to worry about one without changing the pitch, so we duplicate it right across. Can you affect my old tuning these down? 12? Hobbes lost ones up the way and just pull them down. You can get some really crazy like tension. Tension affects, it's pretty cool. So that's how you mess around with the pet shops AT pitch. That should be sharp. And like I said, you get this to this part here, the patch here, and then the best part, I think works the best is if you go to the throne position, function here and just draw in different patterns, do different shapes, just experiment. So let's hear it in the context of a truck. I've done pretty much the same setup here up in the picture forks. It's got the reversed. So we come up here and go a clip. Clip transposition does, you can see in this one it's coming down, it comes down 24 semitones and then just ramps up here at the end. For a, for an up 24 at the peak. They're showing that self, I've got an overdrive for some air core, core nodes may avoid percent feedback through which 44, and then I've got the reverb but just, just over 2 s decay, then the side chain and the Keq. So what's heater on its own? Certainly it wasn't hard for the fuel truck. So far. Where it's just play from here on our bothered like a white noise as far as just perfect. The goal of the picture. Great, cool stuff. Like I said, it was more interest using the same shown from the same source. So we've used not one vocal shortened of just going right across what, 30, 33 bar would monitor, stretch the truck using one sound but creating different effects from one zone. So then obviously one final thing I did here was a two-class shown. I just duplicate. I've just pressed the button here just for something different. In the picture section. Just hit the times du button there. So we put a bark sample there, were just times it by two and it gave off something different. So I hope that helps, hope you've learned something from that experiment. Like I saved the different waveforms, throw recording by messing around with the patch of like risers you could arise our pitch. It depends on your genre of music, but you can have like a rise in pitch sound off of, you can do in pretty much any sound. So we'll keep it going in the next lesson, which we're going to, we're going to focus on granular synthesis and restaurant, but some granular sounds using what we have here in the thorax. 5. Convolution Reverb Resampling: Hi folks Ross. Here are unwelcome. There convolution reverb, re-sampling clause. So the first thing you're maybe thinking is what is convolution reverb? Swimming convolution reverb is basically a method that replicates like the natural showing the spaces or like specific reverberation like devices. And by applying captured Charlotte fingerprints to audio recordings, just making it sound as if there were recorded in that space of what makes sense or using that specific device depending on what you're using. So I'll just give you a quick demonstration to show you what I mean. Just you can get a good visual representation over. So if we drop our convolution reverb or a return track, leave our pro or drop this down to arc here. If we go back sort or parks, we just quickly grab a heart. I'll do just drop it in here. Then. We come in here and I just cranked up in the shade over here, so we'll just crank it right up. You'll hear the reverb off onto a lot of basic shirt and you've got all these different spaces. All these experiments will just give off different characters, different videos and different places to boost the experiment or you get some really, really unique paper of weak effect is really cool. Another thing is short for the purpose of this tutorial, what I wanted to show you is you can actually take your own sounds in dropper, enter the convolution reverb. Sure. We were we were at grabbed this stub, urine dropouts, this one. Now inside the reverb, the convolution. So we'll crank up to 100 per cent. No, it wasn't at the heart. You can heat it here that's shown reverb. Then you can go in and shape. You all different types of things. Change of position, just loads you can do with it. Basically, what you're doing, you're just recreating a space by using our sound that you already have. So keep that in mind for what would I be damaged here. Obviously, what I wanted to do is take something from the trochlear, already have more, feed it through the convolution reverb. So what I want to do is the base, I want to take the base sound here. I want a copy up this one. On the convolution. I think we'll take the vocal. So we come back here and we'll just take the vocal, drop it in. Now, if you are simply the sum of the base, were closer up again just to keep it tidy. The silhouette. Heat it now you can get the sound of the vocal. And it's kinda like bouncing off the actual base pattern. So if we just play it led loop over and then what I like to do is just mess around with the settings here, just till you find something you like the sound off. So keep it 100 per cent where we just currently EQ first. We've the possession of it as the mode. I'm going around there. The damp. Now the DOM that gives off more of a tail See how it says the case where it's mixing the k makes a show longer and you can hear the whole phrase. I quite like how like the tool of it there. So keep that they're cool, shape. These are rough experiment nowhere f2, but I don't think I'll be doing much initiate or not for this specific sound anyway, you can reverse it. But you can soak them a cool experiment. So I think we'll stick with that. I like how that plays off the base. So it's just going to give us another texture for the truck. So I think if we go out, we duplicate, I saw 8 bar. I'll do this one. We're going to set it different this time. We're going to route the audio from f convolution reverb, prove this one here or wherever one you've just set up in your return tracks. Just record from that return truck. So that's going to take the effect and record it. And it's all resample tool audio file here. We are my truck. You see the audio coming through. Then just hit record. That's cool. So then we can take that off. We'll just delete that for now. I mean, we're not going to use our game for this demonstration. We'll just delete the bit or we can just switch it off from here. It's another texture, another layer to progress your truck even more just gives the listener something different to listen to and say to the truck. I'll show you what a truck implementation, but I'll just give you a demonstration of how I created that by doing this show right, by duplicate out there the recorded file. What I've done was a pawn one left in part one, all the way right? So we'll just rename that left. Right? And we covered each one. Audio effects. Eq, it rolled off any frequencies we don't need, but just copied our EQ throw up on here. Then what I did was I got overdrive, usual, just get the same, same effects have been using at the start. Basic stuff. So we're at about 27% pool that thrive, thrive and more copy that one on the left. This time just slightly change the filter. Different position. There we go. Happy with that. So then what I would do that as I highlight them both command G, knot groups or two of them up. And just rename texture, texture. So then on the group itself, the oxo group, if you click on the group, you can process both the effect at once. So what we'll get fast as normal delay. We drop all the group. The ping-pong one, feedback around six day but pill the dry weight down about 23 to a four. Play around with the phone. Three will just got an EQ it here before the delay. Reverb Sorry for saying they are. I think I'll get one more overdrive. Let's just do so. Overdrive. Down here. There we go. And then one final thing I would do is I will get the compressor and decide chance that the soft touch. It's not as basically resort and the sound from the convolution reverb. So when you hear a lot and I will check in their contexts where we switch that off. And of course, down here, same, so I'll just record it left and right. Procession, as I said with the overdrive on the group audit, our reverb delay. And I've got a Coursera as well with a side chain, a little bit of EQ, just cleaning up the sounds that are poking through the peaks here show our boost in the game. For you. Then to me it's like some reverb at the anti-hero. What you hear the section about Revolve I made on the group, they are just there. Algebra, a tangible good at drops back over here. What's you're at in the context of the truck, what sorts in to the store and just wait for it to come in and you'll hear how it glues or it just sounds well where everything else it will have already. Igor, just another, another sanction, arts more interest, the progression throughout all of our 16 bar. So I hope I will spark some creativity in your work for folks. Just to summarize, again, convolution reverb here, just recreating a space using our sound, like for example on here that we already hard to be dropped in the vocal fold is recreating vocal space, reverb terms and then just using it and other sounds and record an audio then process. And it was some more with some effects like delay and reverb, et cetera. And then just drop it in your throat for another section and it dissolves and thrashed one another. That was another 16 bar cross my folks, the more you practice using these types of effects and recreate and sounds that you already have in your truck. The West time you'll spend sample sharpen and then getting lost in the process. And I'll bring it up one step closer to finding your own sound. 6. One Shot Resampling: Well, embark forks Ross again, I'm unknown the lesson five and the old jewelry shop and techniques. And then this tutorial, we're going to focus on re-sampling in creating a sense of sound. We're basically just going to take a snippet from one of these elements here. We're going to create our own senses. Sound, add some effects to it, and re-sample and add some more effects just to fit in the truck here, same process has always folks overthrew the technique first, show you the steps to take in achieving their, their end result. And then we'll go into the truck and we'll do the throttle implementation at the very end. Once again true. Okay, so we'll just crack on with that and I want to grab a snippet of the base, the base sound. If we switch it all, will take the snippet there and we'll just drag that up. The audio track up here. I could switch off for now, close the comment and a bass sound, and we'll just pull that in at the start marker. It Command J. On the one. I want to achieve a higher, a higher pitch shown. So we've got this at the minute. So if you committed a clip, if you go to Complex Pro, we're going to times it by two. We're going to pitch it up. 12 semitones for stars will share without sound. One more active. More, times it through again and again, start. More time. Stopped my car. And let's try a different texture. Which cool tones? Texture. Okay, So like the tones. I'm, I'm, I'm, I'm, I'm okay. So I want to try something here. I'll show you what I've done. Like I said later on the truck. Remember, show you how it works in their throat. But what I did was, um, um, um, um, it's more like a polyrhythm type. So here we go, 6/16 and then duplicate it out. We'll keep going till it gets to go for that for now. I'm I'm I'm I'm I'm I'm I'm I'm, I'm I'm I'm highlighting them all. And Command J to be currently equipped. And then we go to the beach mode. Then the first auto pool bark on the tail bark and the number two, we are in this truck for resampled in crop. You can pressure section on record. I'm happy with that. Let's record again one last round and then that'll be it. Cool. Command J. We've got Lacoste shirt, tight pluck sound. So if we grabbed began, aren't pay envelope, dropped the ball, change it to boost. Then if we grab a delay Got some space. Thank Paul. Go on. If you get a grind away, pool the dry weight down 30%. And current with pitch up, pushed well, because you're like, oh, that sounds there. And one more thing, maillard, as our chorus effect. To be grabbed a course, we'll first shuttle funk. They are blocking the driveway. Saw some movement on the sound. Well, the array you harbor, you've got like a pluck sound. Not just by taking the shown there, the one-half from the base pitching up, then using the algorithms inside the here to find, find one that works well for the tall. So just to recap, there are two beats originally, **** diode buck and the number here and the transient then recorded it for this plucky shown here. Doesn't sound too exciting, but you hear on its own, but when you hear it in the context of a truck. So done something similar on an as shown here, if we switch off that we just created, they're committing to this here. I've called it the poet pluck, so we solo it. Handy. You can see here I've omitted the fill or the frequency cutoff. I've automated that. If we came here, I've just taught me to open up as it gradually bulge. When it comes in at this part of the top, I'll let you here in a second. Just a quick tip. If you hold the Alt button and push it up, you get the curves. Not just covers it up, makes it a much more smooth or belt. So let's heat are all in the context from fall apart. Yes. Well, let's hear it in the context of the truck will just start it from this section here. They let it play through and let's hear what it sounds like. To show off. Gold. Is there another idea to weigh it up on your show? Another part to another section. That's what another, another 16 bar just keeps it interesting for 16 bar gears a bit of work left to do in the shown yet when it comes to the Mexican stage and all the rest of it, but that's not the purpose of the tutorial. The purpose of the tutorials are giving you creative ideas and spark inspiration and your own workflow. So a coach in the next lesson, folks 7. Granular Resampling: Hi folks and welcome to lesson six. And then this tutorial, we're going to focus on granular synthesis resample. I'm not gonna go into detail about what granular synthesis actually as a whole other tutorial when itself. But for the purpose of this tutorial, we're gonna be using a free Max for Live devices called glomeruli are two. I'll leave a link in the description for you, uh, pick it up. If you've not got access to moksha alive, you can find many different three granular synthesis plug-ins online. I'll leave some links in the description for you to go and pick some up. Pick something up that's going to give you the same effect of what I'm about to show here. Let's just get stuck in for the granulate or to see him again, we're using the same sound. We're grabbing this vocal and we're just going to drop it in a growing. Then if you commit the clip P0 will close up, but don't leave that for now. We'll just draw an eight bar, an eight bar clip, hold down Command Shift and M knot brings up a bar clip there. Just click and C3 than Hitler got looped up. So if we play granulate, really right now as you can see, it's stuck in that one file position. Okay? So what we want to achieve here, we want this to play all the way through the sound. So what we're gonna have to use some automation. So an order again, when you click on this file position here. And if we just flip that, and if we pick her up, what we want, if we wanted to play the whole phrase across the 8 bar. So we press play. She's not gonna make it through the whole phrase. So you want to boost that up. So they are not would do at that plays a whole phrase. Then we can mess around with the different parameters here we can use the grain. So I started doing something with the grain. Really cool. You could do like 33 different variations over. So read the stoic grain. Whoami it again in a second. But if we duplicate that, she'd have the file position or made them each one, then for the grain will just do something like let's put down, up, then down, and then ramp it right up there. Robert, right down, up a little bit. Then let's just build it up from this law school just to see what that sounds like. Really cool. So then for the recruit, come into the grave, you press the green button here. You get the patch of sky for me in the past, just put out last one. Last little effect will cry. So he can get off some really nice sounds. Not always WAF experiment number for the PECC in these parts. So that's the grade and the final position was probably do something with a spray can and could walk here So without, basically it means is it sprays over the duration of the grains, are much more random and are spread over a farther distance and the Shogun, so it makes it more unpredictable, would be the word way up, push up. What's another one wants to experiment? And so once you've got your sound, they are already. Who I would do is just re-sample and one audio clip. Then you can mess about with it some more. Who've armed with rock? Record? Tell me how many, how many comments. There we go. So I've just recorded. You'll do o'clock here. We swapped the law. We've got these affects all from the previous wife's unsorted list to eat them. Keep them all. Wondered why. Some of these. Calvin, nice, One more thing, we'll just try what? You will get R form. Let's try me enough. Wander over time just this year lots owns your warm doi dot one. Driver or old-fashioned infarct. Nice fluid or the dry wet with the build-up. We go. So There you go. Then you could shut down audio again and you've got that fail the drop-in arrangement and start messing around. So let's see that in the context of like I've went from a breakdown type effect, we come into the truck. I've just used it in this section here. Same idea or the different parameters there. The final position, the grain and the patch, grain size and the patch. And then just recorded it to audio where I've automated like the full art to open up the sounds coming through. But I'll wait, do I make our than not phalange and effect? Because there's certain political just take it. We heat it from civil go from here. So you go, so really this really nice. I quite like viola solo, it really nicely like a breakdown effect is there. Just to add some real space. Bar, Harbor, I'd say granulate. Really want to mess around with for surreal to cool piece. I kept really handy for creating these types of more crazy, deep twisted them, vocal effects and stuff. It's really, really, really cool stuff when you get, when you get into the swap experiment. And like I said, with the grain, different grain times and the final position. Just even go into here. If you've got a push Control, artists use their market to the pH, start messing around with the effects of art where it'd be just looped, loop that break. You know what I mean? Look the whole section and just start messing around that way. So a lot of fun, it'll be hard to watch stuff to be explored. So I hope you took something from art as always. And then, like I said, I'll leave links in the description. You can pick up another granular synthesizer, just a mess around with and get the same kind of effect that we've got here. So we'll see you in the next video, folks 8. Random Resampling: Hi folks and welcome back to the next lesson. In this lesson, we're going to focus on randomly sample the technique I use quite a lot just for finding different and unique sounds by using the sounds that you already have. As always, it takes about a patient's when you're recording the audio, but you can find some really interesting sounds and same as usual. I'll just go through the technique that the end, I'll just show you a truck implementation just to show you what it sounds like in the context of our throat. So let's do the sine we're using here. To sound from the last lesson. We're just going to drag it highlighted over here. You get this two options here. This brings up a session view, drag it into session view and throw up all the channel will just rename it. We'll just drag this across here just to keep it tidy. Solo it. So obviously nobody in Session View. So I just find it easier and this view to record like lengthy, lengthy loops or volume, especially if you've been working in arrangement. So much easier just to record a good chunk of audio in the session view. Then you can pick out the budget you like, and then just drag it back and arrangement afterwards. So what we're gonna do first, so if you right-click audio track, then in the audio track, we're going to on audio from re-sample, which is this one. We play audio coming through here now we're ready to record. I will just read a record. May be colored it red. So let's grab the device around the wiser. Like I said, it's a Max for Live device. If we grab our echo and all we do with the device randomizer as you hit this mark button here and just click the header of the audio effect. You can see around them with changes. The effect or the parameters on the effects. We've now got this group, so we'll just get a women are all just for safekeeping. Dynamics. Whether our proper role, I think, will add one more effect, will duplicate the randomizer out Command D, grub, screw up a reverb, Roper all mop, the header and then away you go how to set up again, Let's take these off. Some cool, cool Sounds. Good. Obviously we want to record this randomization. So we've got the stroke wind up. So say UP rocks armed. Let's just hit record. So I'm going to speed this part of the video on just to speed it up, it's going to get a bit boring for you. Thank you. I'm just going to be watching this get recorded right through. So lots of squat like almost 68 bar of audio equipment, really sharp organic. What I did was I switched on or off, will give us more, some more character and the sound didn't feel like anything that gave us more play West Show. And then just change the time sync, the time setting, and it just give off a different effect. And then seeing the reverb just mess around with the sizes are recording the feedback as well. Just play around with the parameters and it just gives you a different, different zones. So let's say the viceroy on the tape around the y's effect. Remember it doesn't have to be an echo or a reverb, it can be anything else. You can go into phasers, flangers. They had blood reverb, try the corpus, the spectral resume, or throw the Vocoder. Anything works in here. And you get different sounds off of every different audio effect, obviously. So WAF experiment and work So from there I would just switch off their affected sound. And they will have this audio loop and I would just loop through it. This is the part takes about a patient's. But you can find some really interesting sounds. If you just loop through it and find something that put you off, I'll just go through it and see what you can come up with. It's always good to other crop plan. So we switch it on and we'll have that playing there. I was working through the audio loop and just hit play straight away, straight off the bottle are whitebark. Listen to it. So I will just duplicate it, drag it across. I'm just maybe rename it to rise. Texture will just recover. So switch off and we'll just wasn't until like Oh it rises. So it'd be crop up. Once you get the sound here, the button here at the side. If you listen to the song, you'll hear a little pop. A little puppet stock. You hit the fade button automatically. Pizza fried. And at the start of the audio clip, pure sorts of Honda of the half here and it pops and clicks at the end or the start, just hit the fade button. Let's try to duplicate and let's keep it back where it was and just keep an eye on complex model. Roll off a warrant. It's odd upon those are dizziness. Maybe get warm. Just add some more, some more movement to the sound. There are a lot of texture. You can imagine naught, B naught, or maybe even a throwback. Look at some points. You can just change the sound of a heater. Got it. Quite light box or I will draw them with that and then I'll just come back and the sharpened August over here and just call it all. We'll just go through the same sum off, see what else we can come up with. Maybe throw a pitch it up. Which in the whole sample up 12 semitones. Two, that gives us something different. Let's try something with that. So again, same process, duplicate it out across. Keep that one the other stream. They're not just get the sound right, quick, crop it. Let's roll off a lot less time which try? Which modulation which get upon, which all this time we'll turn and an ally for so we'll put buffets, write down shape, cube-shaped down, mount up, words Let's get a thrombus footnote. We get get overdrive. Dr. overdrive, throw up. Nice, just add another texture, something else, something different, something interesting. And again, coming from the same source. So let's keep it going. Let's go through the loop again. I'll let you find something. Another textured paper, surrealistic, the pitch Bach down. Let's play. Great. Let's do something with that sound, right, but just crop it. There won't bother duplicate now it should be the last, the last demo, but let's roll it right up. High-end. Let's go to the clip but become a beach mode, one or zero, and then go to 16th notes and then just pay or bark and the shirt tail block and the number there, that's nice. Then go and drive a thrombus, that thrombus on. Then you've got this option here, you get the transients. This will just help it pop through the mixer, but more just tightens up, medium Up to thrive. The crunch, wet, grab that. There's enough for all. So you go to split away, come up some really interesting sounds that compliment each other very well. And just to recap, on the resort, poke at that device, randomize, randomize their audio effects you want around the boys accord a beggar audio loop with I sometimes, so sometimes I'll record like maybe 400, 500 bar of audio to spend time going through it, but it's really worth it in the end when you find little gems hidden there and no one else has ever used them in their sounds because the chances of anyone else ever having these sounds in their music, not exact. Pool of sound or texture or sound is pretty slim because you're using the randomization functions. So it's really cool, really handy. So just like previous lessons, I don't somehow we are, if we come in here just fine, this glitch effects like a percussive type layer, call this one like a grumble, grumble, rough upon and dark with a termed an LFO bit of overdrive. We saw it. Switches on and off. Cost of pink layer, same deal as before with the beats. Preserve the 16th notes and just dial back in the thrombin. Then we've got this just a little glitch. So it was like a, almost like a zoo. So it's just a few, a few other songs to play with. But I quite like, I quite like the ones I care about whether there are there shall be using them as well. But let's just listen to it. I made and the contexts. Take solo off. Just hit play. There you go, some more ideas. We hope you took something from that. Just again, just everything's connected. Everything sounds to be elevated sounds a lot more in thrash them. You can just stretch out the Crocker bit more or different, different sections and say belted outbreak hard there from the previous lesson. So this is more tools you have to get folks almost at the end of the audio section of the masterclass folks who've got one more or do it and that'll be the power of echo, and that'll be our final class before and we won't immediately sampling techniques, okay? Okay, see you in the next lesson focused 9. The Power Of Echo: Hi folks, welcome back to the final video in this section of the course. And this one I want to focus on the echo and just give you an example of the power of using echo in your trucks. Same as always. I'm going to show you the technique here. Just go through everything step-by-step. I will do it how I set it up with their devices. And then we'll just show you what I've done here on the truck. On the bottom just to let you hear how it affects the sound in the depth they are truck. So let's just crack on as usual fork. So the first thing we want to do is glob of sound from the truck. So we'll just as usual get the vocal for operand. We're just called a tidy up, split it up into three parts. We turn all, come and find me. We'll display it. So if you hit Command E or Command E again, and just delete the parts, we don't need to hit Command E. Now we've got these three reports of the vocal will just come on. Come on. This one here. Right at the start. Then if we zoom right in or find the zero crossings somewhere, excrete there, Let's go for that one. Just avoid any Pope's for that. Then this part here, we'll just roll off. For that. I'm just pop on the bar, the bar and grab these other two. The next one and bar five. Super command C. I'm again just scroll right in the sound. Zero crossing. Right there. Let's grab this. Start Walker there. We get started. Welcome to loop. Just drag. It will go see him again. Just tidy up over. Nice. Then we'll grab this one. Drug on a bar nine. Same process will go a lot. Thrones. It doesn't look like it's maybe try something here. Embark here. There. We go. Lock down one. So if we want to patch them down, so just highlight them all. You've got all three highway and you come in the clip here. This will affect all three clips or a highway if you just hold down the shift, especially down, the donkey drops sort of thing down 12 semitones. We've now got that. We'll go, we'll come up with sound rule, about 150 hz. Perfect. So then from here, we put all over the three sections over 12 bar. What that does is because everything else is looping over all your average sewing, your crops, your hearts, they loop over, I leave a number like four or 8 bar. So this first term here is gonna be repeated again on Barth are in B25 than embossed 37 as opposed to bar 1, bar five, bar nine. It's not the same hetero. It's going to sound square, add more variation. And it's going to make it so more evolving. Because with effects that we use, there's a good chance that there will not sound the same as though they are, even though it's the same sound. So it will just evolve over time. They bought makes sense. So when it gets threatened, the affects side of things, and let's get an echo on feedback around. I was having a mess around with it. And I think I've got 104 works pretty well. 100% a ping-pong. And then we'll also get, I wouldn't use a reverb as well. So if we look at the hybrid reverb, sounds like, Let's try a different organism. Shiver Like the shimmer. So there's a couple of problems. I want a mop, no echo off. It'll go. So there's a thing called as I'm OK, so Live device called the XY pad. Let's scrub them fast. Results XY pad. And we'll get one, duplicate our outcome on the just dropped off before the head blood. For the hybrid aren't a mop. The k The k time, the shimmer. For the echo. I'm going to leave that as an edge display now for the feedback there, but switched off. Again. It's going to be affected by or before the echo. What we want to do is mark the frequency and the resonance or getting a grip. We're going to map the frequency democracy one. The residents to macro to. The reason I want to do this is because I don't want the residents to open right up like that. I want the resumes to open around 70%, maybe 65 per cent. To do that, you just press the mark button here on the rock. Resonance, 65%. That means it's a maximum. The maximum is going to go. So we crank that up. It's not going to go any higher than 65. When this gets mapped to this. And it starts darting around the pod, it's not going to like pick right up. Then the frequency is simply frequency will mark the frequency and we'll put the minimums here. 150 were always getting some sound sitting there in the background. So that's outset. So next, we want these to move. We want these XY pass Econ, move it manually. But I was just too much work. So there's wear out ways around. We can use a modulators, we can use an LFO. On. More. Duplicate the LFO. Then you mark the x, you're marked the y. Then you've got these wave forms here. We changed it to random. And then use a smooth function, smooth out about 21% to an, a 123 per cent, change. The rate slightly. Means, I'm just going to talk about the XY section. Then. You might see with XY pad and you mark the frequency. You mop the resonant from XY pad. You can see the foot are opening up and closing, opening up and closing. Then you get the echo off threat, which gives off the tones. So then you get the x y part here affecting the reverb. So what we want to do here is we've got the decay in the shimmer, mopped up, isolated the K and the Chemosh the same again. Now I for proper all duplicate. If we mark there, you can see the decay and the reverb them up. They're not. Please open the shimmer. Same again, random, random and just change the rate slightly. Go just a little bit for the verb. So that's how you set that up. Solely affects pretty much will my default were well, we'll add a little echo in a minute, but was just hear that sound. So I like how the shimmer Sounds. Good. Thank you. Want it to have to shove or we can use this function here on the left or to the block the 41%, the shimmer is not going to rise above 41. She didn't go Keep it there. So that's all set up. I think what we'll do as well, or get another echo, some more space on a wall clock. One final thing I would get would be all mix. Let me just say chain it to the Keck. Just imagine having not sitting in the background too much. The input steady with own reverb off without one. And that one is really cool for spacey effect. So remember, you can just experiment with Danny effect and that she could use overdrive. Again, you get your phasers and flangers. I'm using the Echo and the reverb just because it gives off a real spacey for you as a kind of sound. I like that you could try something else. So what I'll do now is I'll show you how I've done it here on the truck and how it shines through the truck. Socks. Same idea. I've got the hips there. And then I've got pretty much the same set up, come down or switch on and off for now. And we'll open it up. Hetch, Hetchy across 12 bar. It's just repeated. Xy part of our x y part here with some EQ, LFOs, Yacco, good analog co-ops as well afterwards. And I've got the autofill are so this is the other thing I've got at the end. He felt. So I want to assure you, like things I would do in a situation where you've got this setting in the background. But then if we click on open up the automation, they can automate it to open up. Certain parts dislike for transmission of x, Let's say for our just before bar, before, they're just before bar name there. I've set it up to open up shortly. She you'll hear the effect once I play it. So we just turn it on and we'll just play it through from here. And you'll just listen to how it affects the sound, the delayed sound as accompany these little rises here. We pull that down, make it bigger. You can see it. There we go. We'll hit play. So I hope you'll learn something from art folks. Hey, everyone enjoyed creating the course so far, I hope you've found some color creative inspiration from it. One final thing I'll mention is once you get the final effect exchange set up on your audio track and you've got the sounds in there. Don't be afraid to all different zones, zone from the truck just to give a different feel in the background, you could always do a section where you are different sounds. For example, you could order it out like a base hit in here. Or you can add one of the hearts or something in here on our co-op. And you'll just get that echo effect and a background ***** also in cohesive because it's coming from that same source again. So it's always worth experiment. And I'll see you in the next part of the coursework, such a creative Mediasite. So looking forward to getting on with and I'll see you soon 10. Bonus Video #1 - Multiple Bass Resampling: Get on folks, so welcome to the bonus section in the audio resampling class. This is the first of many bonus videos that are getting added to the course. I'm just going to keep it fresh every time I learn something new. Every time I think it's going to be valuable. I'm just going to update the courses and just add bonus videos here and there for you to pick up and just experiment with new techniques. So I've got this base idea here that I want to resample and I want to show you what I've done and I'll show you the process for resampling. We'll get more control over the sound. I'm basically just going to talk you through the steps of what I've done and we'll start to resample from the drum rock, and we'll just take it from there. I've got the drum rock here, I've I've got five different base loops from similar sample parts. Apart from one, I've just dropped them. Just experimented with, just listen to the tone of them, how they work together. And I felt that these work really well, just takes a bit of picker and choosing when it comes to picking your own sounds. But we'll just go through each effect, each step, how it's set up, and how to go about it. So the first thing you do is you get yourself a drum rack, then you drop in like your five loops like I have here. In each loop you want to set it to slice mode. Now in some of them, depending on the size of the loops, I've selected a different slice, you can do by transient, beat region, or manual. You come into like this one. This is by transient, but there's a, it's a big loop. There's a lot of transience. There's plenty there to pick from, plenty to play with. But some samples like this, for example, is only 4 bars long. It doesn't give you as much transients. You can see it's picked up and sometimes it gets missed. I'd like to put it into beat or region mode. I've just added more regions for it to pick up a sound. And it's in mono mode, which meaning I'll just play once and then it stops. When the next notes played, you get three options. You get poly, We'll just play the sound through until it hits again. That's worth experimenting with as well. We get some pretty cool results for that, but we've just got the mono for now. That's pretty much the same right through each sound. They're all by trans. These are bigger loops in slice mode. Then before each hit each base line inside the drum rock, I've got a random Midi device which is on each sound charts to 70 choice is 24. There's a wide variety of sounds. It's getting hit scale one, keep it hard and mold random and that's just the same for each one, right through. That's basically the drum rock and how it's set up before the drum rock. We've got an R, which is set to random other meaning that we've got the sustained note here and it plays through. What it does is it's on the eighth eighth note rate. Every eighth note, it goes through the chance. Then when the chance plays, it randomly picks one of the loops, which then Tu loop it plays randomly play a slice from the loop. Makes sense. That's basically how it's set up at the end. They're just ordered some effects. They give it a nice field, just put a dry. So we'll rename that dry. I've just got an audio effect rock group it up, duplicated it out, all the effects in this chain. And I've got the dry chain, so we've still got the dry signal going through and then we've got the effect on it there. This is how it sounds. It sounds a bit chaotic at the minute, but you'll get the idea if you hear it. That's what I've got. I've got a drumbeat going as well. What I want to do is I want to record these notes here to audio. We're going to come into session view for this because it's easier to record a bigger loop to give us more to play with rooted from. We will sit monitor to arm, switch it off so we've got the volume from both sounds coming through. And just hit record. And now it's going to record all the audio coming from the drum rack, which is all the bases into one audio file. Let's just hit record. If we could go into the art and start messing about. There we go. We got 30, 32 bars that are play with. So now we're going to switch, now we're going to switch the drum rock off and we're going to put the more to auto, come back into the loop and we're just going to look through it, we'll find a base part that we like, that's command and loop. That's over half a bar on behind the well said the 16th notes. There's an idea I like, so duplicate it out, click crop it, and we'll keep that idea. Just keep going through, it's like a drive. And can I bases. Keep that one that's crop it 0000000. Keep one, Duplicate it out, you get the idea. Just keep getting until you find wants you to like pitch up down much better, like a darker base. Let's keep that one. Duplicate it out. Crop it much better in the deeper region. Let's duplicate that one out. Let's crop it then. Keep going. Now you hear a clicking noises. Hit the fade button here. Clicks coming from there. But that can be fixed like that. Let's that one, I think I'm going to run with that one there. Let's drag it across and drop it in here. Stretch it out. Let's play. It's stutter at the start. Let's come barking at the sound. Start here. Let's get that sound sounded a bit more. Get a air. Let's get a drive, let's get the over drive in again. Chain, cool. So you go folks, you get the idea that some have got that bass sound there, that deep driving can a bass sound It sounds more unique. It sounds, just sounds different sounds a lot more interesting than what we had here just by doing that. Other, these different sounds, et cetera, you come up with something like that. That's what I love about resampling folks. It just gets a creative, the creative mind going and you can just come up with some really interesting sounds. There you go, resuming some base sound, Have fun with it, experiment with it. Ask any questions that you've got to be much appreciated. You give us some feedback as well. I'll see you in the next lesson. Cheers. 11. Outside The Box Reverse Resampling Live 12 Edition: Hi, folks. So welcome to the live 12 version of outside the box. And all the techniques are going to be similar to the first version, but we'll maybe do slight subtle changes to the processing. So it's just an updated version, same idea, if different sounds. So let's crack on the first one. And the first one is all about reverse three sp one. And I want to use this sound here. I've got this phrase. So go. I want to use this last part here. So let's come on and J. Consolidate it. Go, go, go. Now, the first thing you do for routing the audio to sample is you insert a audio track. So let's do that just so you get a better understand. Then in case you haven't done it before. And we do audio from sound, which is this one and you arm it. So when you play, you should be able to see the volume come through here on the right hand side. Go, go. Perfect. So that's all we've done. So I'll get the sample here. Let's arm it. Go, go. We're going to take a reverb. We're going to drop it onto the vocal. We're going to put it to 100% wet. The around let's go for 20 seconds, and we're just going to record in from bar one up to bar nine and eight and eight bar sample. The tracks armed. Then you come up the top P, just hit record on the track, and then I should record in the full effect of the re sampled reverb. Perfect. Now if we highlight the whole section, hit Command J, the consolidated. And commit the clip. And then you're just going to hit the reverse button down here at the bottom left, hit reverse reverse the sound. Now I want to pull it in slightly so we've got a little dip in volume at the end. Drag it across. Now we've got this. Perfect. Now, I wanted to play this vocal one shot at bar nine. So let's come back into the sound. We switch it on. Let's pull the dry down to around 35%. Decay down to around seven. Let's hear it from here. Let's that reverb onto this one. Cool. Now let's do a couple of more effects on it. Let's get an auto pan. Now let's put the rate. The notes, put it to 1.5. Now listen to how it affects the sound in the stereo field when you push the amount up, listen to how the sounds how the sound gets affected. Now, what it's doing is it's moving from left to right. And obviously, the more you push the amount up in the auto pan, the more it's going to have effect on it. Let's keep it around 60%. One final thing we'll get as a compressor. We're going to sidechain that to the kick that I have here and the ideas. Now if we open this side chain from kick. Now it's going to pump A minus ten dB gain reduction. Cool. So one final thing. Duplicate it out. Then the beat here this is, if you duplicate the sound out, let's put it up 12 semitones. We'll pull the volume down. So we've just got another layer in there added to the reverse effect. Let's put it down minus ten dB. And if you remember, we've got the auto pan on here as well, but what we want to do here is invert it. And what happens now is, we'll do the opposite of what this one here is doing. So we'll just kind of play in between each other. This gives off a pretty cool effect. Let's listen to it. So whenever the one's playing left, the other one will play right, then they'll just cross over each other. And because they're in different octaves, it won't get affected. There'll be no masking issues with the sounds in the stereo field because they're playing at a diff different region in the spectrum. So it just thickens up the sound a bit. So just adds a bit of width and a bit of depth. So that's basically the technique. One final thing we'll do is if we group them up, Command T group. Then if we get a glue comp presser, we'll just glue the sounds together. Lo this part. And we can bark group. Put down. Take the release 0.2. Make up around three D B. So that's basically the technique. Now, what I've done in the first version of outside the box, we've got an idea going. Let's just hear it in the context of a track. We'll switch these two off, Let's hear it in the ideas. 12. Outside The Box Time Stretching Live 12 Edition: Video, we're going to take a look at time stretching. We're going to manipulate the sound using the different options we've got here inside of Abletons audio clips. Let the different algorithms. You've get tones, texture, re pitch complex, complex provo through them. And we'll also use the work markers just to twist and stretch the sound and just make up our own versions, just taken from that initial loop, just to add into our idea. I'm not going to go through the quantize part, but don't need to go through this part. We're just going to focus on these different algorithms here. Then we'll do some clip clip automation as well, just to show you what can be done with the different tools that you have here inside of the audio clips. So if you remember, from the first video. We've got this sample here. Let's bring it right up so we got a better view. We've got this sample. You still Audio clip. So first thing we'll do is if you highlight everything, and if you hit command in that warps everything. Now you can start shifting around these different warp markers to start twisting the sound up. I want to move this very first one here back. I want to take that one. Let's take a bright back to the start. And just listen to how it affects the sound when we're messing around with the warp markers. Now, let's loop it so we're just loop it. So as bark in the reverb slightly. C bark in the clip. So. Here how it affects the sound. If what I'll do first is, I'll just start playing the sound, and I'll just move around the work markers and just see if can get something like a pattern, and I think it sounds sounds quite musical. Sounds okay. I'll fit in with the track. Let's just hit play. It is. It is. It is gone. It is gone. It is so far go. It is so I got It It is so far. So go solve. Stick with that. Now, let's go through the different algorithms and listen to how it affects the sound. Let's go to the tones. Is what tones does. It's like a grain, almost like a granular synth, where you push the grain size. If you listen to the sounds, it just adds little little gray grainy textures in between each sound. Let's go to texture. I almost got like a corner. So I so Let's go to reptch. I totally changed like the musical. Like, I almost plays like a melody when you re pitch it, which is quite interesting. I've never noticed it before when using it. So this is new to me. And you can hear how it in some places it goes up and pitch in some places it comes down. Think what it is, is it depends on the length of if we pull this in, you listen to this little part here. I'll probably play a higher pitch. I think. Yep. So it depends on the stretch because it's stretched out, the pitch will be a lower pitch, and then when it's closer together, like so, it'll be a higher pitch. So you can get some interesting results of that when you think about it, you can start ether in your own work markers in making like longer distances between. Son. Simon. I wonder what it sounds like if you loop like that part. So you can imagine if you've got a beat going, you can get some interesting results for that. So what's the re pitch. It's a complex. So far. Go. The complex. Have you listened to beach mood? So far go. It's much more stuttery. But if you've got the complex mood on, it's much more smoother. So far S a complex pro. You listen to complex P. Yes so far go so far go so far. Go. Cool. So that's a different types of algorithms. So give off different textures of the sound. The three pitch one will be a good firm to play with. But what I did for the demonstration was I went to the beats mode. Now you've got the different preserved transients. So what this will do is for each war marker we have here. We'll get affected by these little O algorithms here. Now the RO one, listen to what happens when we pull bat in the sound and listen to how it affects when it hits each war marker. I still. F stop G G stop. She can get some interesting rhythms for that. You think about it as well. It's another one worth experimenting with. But you can also instead of transit you go to 16th notes, and it gives a more stutter stars like starter part effect. Stop fans course you can go to eighth notes. Stes So, again, you can get some interesting partners with that. Now, what I love about Live 12 is. You can now automate this parameter here, which couldn't be done in Live 11. But now, if you take this parameter here, which decides how much the value is even more means. Is you pull that back. It's. I get a more stutter effect. So you can actually automated. If we go to envelopes. Make sure down at the bottom here, you get clips envelope highlighted. Press beat to get the draw top, which you'll see up here on the top right. Now, if we click on this, highlighted, highlighted down here and start doing different ran you'll get stuttered and then maybe have it play out in the long. Maybe pull it right back for here. Let's have it up there. Just try something like that. End of the day it's all about experimenting. So you could have phrases where the first bar is sttering then the second bar, like that hit there gets more and more fouler effect. I. Again, so you get some interesting results. Then, of course, with added effects on top of that, you can further manipulate the sound. So let's go back to the idea and what I've done in log three, what I've done in the idea. And we'll just demonstrate with the sounds in a track situation. So for the first one here, you go to the time stretch. I'll just get the work markers, and as you can see here, I've just automated the pometer here. I just showed you previously in the technique demonstration, and I've automated it over time to change with a starter effect. So if we soloi and we'll switch off the delay in Q. Then I'm just ordering a Q and just took out tame those peaks that we're coming through. And ad the layer at three mode. Feedback 59 draw at 27, and it's sitting up around around three killer hertz. It gives a nice vocal effect. It's another texture from my truck just to build that int row to get to the main section. Then after that, I just put in the sound and I loop a part of it. I loop a part of the stretched the stretch sound. If we put it back down, go to time stretch. I'll solo it, and I'm going to switch off all these effects, and I'll just go through each one just to show you what effect it has on the sound. The same again, tame some of those peaks rolled off some of the highs. Doesn't sound so great on its own, but though I done a delay. I did it in three fourth mode. It's playing like a poly polyrhythm pattern because if you come in the clip, you can see it's looped. You go to 16th notes. It's looped over 3/16. So it's almost like a door pattern. I put in a chorus as well. I've also got the auto filter, which I've automated, open up over time, and it drops here with that little phrase, opens up in between the phrase, drops again, opens up after that little phrase the little starter phrase. Such a auto filter, then the reverb, just a space. Re verb is set at 37%, 2.64 decay, and then the auto par is set at 1.5 rate like we did in the pad and 37.3 just amount to give it a little movement in the stereo field. One thing I forgot to mention in the auto filter, I was an LFO at three four rate. So that gives it another dotted effect. The envelopes opened up to 36.3. It's boosting the res, not much, just a little settle boost. So I solit on its own. Okay. So sound you can hear that dotted kind of pay sound. It's got a lot of movement in. It sounds quite interesting. Over time, and you'll hear it more when we put the beats in. Sounds pretty cool. So that's the technique, basically. That's time stretching. So finally, let's hear it in the context of a track. 13. Outside The Box Pitch Shifting Live 12 Edition: This video, we're going to take a look at pitch shifting, just to create tension layers where you can build tension by means of a pitch on a sound just for transitioning into new sections. A cool little thing to mess around with. You'll get some pretty interesting ideas from it. So we're going to take a sound reverse re sample. We switch on the idea. Put that reverse resample from the first video. We're going to take that sound, and we're going to resample it up here. Let's just delete that and start again so we can get a fresh idea of what we're doing. So if you insert an audio track. You can just go to extension in and select respl if we arm it. Now we've got that sound. Let's move that out the way. We've got the reverse resample solo And if you look here on the right, you'll see the meter coming up. That means it's armed. It's ready, resample and set, and you've got the tracks armed by clicking this button here. I we just hit the start here. We'll just hit the cord and we'll resample that part. Now, just tuck it in. Come on, Jay, consolidated. And select this button here, back the extension in. Take the arm off. Let's switch the ideas off. Let's just go into the sound. Switch take off, sorry. Let's just work the 4 bars. Be much easier. I'll show you. What you can do with the sounds. If you come on Jay you consolidate it. I come in to the sound itself, let's open it up. Now, you've got the functions here. Remember, last video we went through the different algorithms, et cetera. This time, we're going to go to pitch. You click on the pitch button and go to envelopes. Now we can change the pitch via automations the clip. Now, you could do loads of different stuff here. One prime example to do a rose and pitch effect, if you click on a node at the first part here, bar one, then click on bar very last point here. The end of bar four, click on another node. Then just come in one, click on a node, and push up. The 12 semitones. If you hold in the option key. I'll just draw like a carve in, and listen to how that affects the sound. But if you hear how the sounds affected and beats mode. Every transient it gets affected and it jumps up and pitch the transient. So what do you want to do here is go to complex mode and try it again. Much more smoother, a complex pro. Then let's try the other ones, may as well. Tons. Text. Go. What's the effect. So I imagine you had some reverb on it which sounded a bit better. We a longer reverb. It's all pretty cool effect. That can work. I mean, you know, you could pitch it. Actually pitch it down 12 semitones. Now it's going to start lower. But what you can also do is put it back up. You can start drawing in different shapes. So make sure that's in 16th mode. So a 16th note it's going to change. You can bring it down. And you can put it up. Let's go 565. Let's put like maybe a carve on it. Just start drawing in different shapes. It's going to affect the sound over time. The distance is different as well. It's all about experimenting. This one Posh that one back up to zero. And if we duplicate it to be highlighted and duplicate it across twice and make subtle changes on the second second and third one. Make it more intense over time, and then we click that one there, and then we'll boost this up. S 24 semis. See how that sounds. So is about chaotic. We get the idea. Should be doing that. And if we come back into sound. I click, if you highlight it, right click. You get the different wave forms. We'll have to start up to get the full visual of it. Now you can see the wave form here. It all up to 40 48. Let's bring it right down 12. **** to 12. Over three 16th, is going to go up and then down. And you Well, then you highlight that section and come on D and duplicate it. You get a different shape. You could do something like at the end. So now, you've got that LF four effect. Starting some reverb. Whoo whoo, whoo, whoo, whoo, whoo, whoo, whoo, whoo, whoo whoo whoo whoo. Pretty cool for a transition effect. Now if we got at the same time we you heard that can to filter. Open up. Over time, we could start it low. Woohoo. Just automate the filter cut off to open up over time. Cool for like breakdowns. Maybe not so keen in the little rys at the end. But what you could do is envelopes, go to pitch. Actually make these smaller. Instead of having the rays at the end, make these kind of build up. Over time. Make it start small and get bigger over time. So by the time you get to hear. The different shape of the shape would be quite more like curved. Like so. That one down. This one down. I'll just get more intense as the track progressed. So at that part, duplicate, duplicate. Let have that rise up at the end. I think so. 000. See how it gets more chaotic towards the end, so you can emerge with some effects on it. That's pitch shifting. That's a technique, experiment with different shapes, different wave forms you can use as well to get different effects. So what I'll do now is going to the different ones that I've done here. Let's read in the last one. Pitch shift. I've just done a similar type of effect. I going into the clip. I've done it over eight 8 bars. And we going to the clip. And we go to the pitch. I've just done this funky type shape. That just builds over time, just messed it up. That just changes slightly in different regions, different areas. One part here gets higher. This one's lower at four, this one is at six. I just like the sound of it and how it flowed. What makes a difference when you're doing this type of sounds? These type of textures, when you're adding effects. So I put in an over drive at 34. Keep the filter down around 420 hertz, Thrive at 28. I'll get the filter delay within four, three, four, within the different feedback at 80% on the left and right, 35 in the middle. Q roll off those low mid areas just to take the muddiness away from the other sounds. Then I got to compress out to side chain of the kick. So it pumps in the kick, and it's got minus ten gain reduction, the thresholds down at 21.5. Let's give it a listen to hear how it sounds on its own first, but solo. So it's pretty cool the filter delay on it. Obviously, the over driver and some more harmonics in the sound and the pump in the compressors here in the track. I would maybe have it in this section here at a final 8 bars there. We've got the re sampled reverse reverb, and I would probably have it here building a new section. Then I can margine a new sound coming in here. We've got a minute break. A new sound we come in. I'll done the automation. That's done the transition effect to come up to the main part. So that's pitch shifting. Experiment with that one folks, and I'll see in the next one. 14. Outside The Box Convolution Resampling Live 12 Edition: This video, we're going to take a look at convolution reverb sample one, and then this one, we're going to be using sense sensor returns to record out to resample some sounds, and to do a bit more processing on the resampled audio from the sense. It's a pretty cool technique rather than adding some more texture to your track by using sounds that are already in the track themselves. So as you know, I've got this vocal phrase. If we make sure that's turned off and this one, and let's just listen to the vocal. You. Now, what I want to do is I want to root the sent to set up into this vocal. Now, the idea behind the convolution reverb pro and this creative technique is all about taking the vocal itself. And what you do is you just drop it into the convolution reverb here. You just click and drag and drop it in. Which I've already done. So we commit the convolution reverb itself. So I've got the sample in if we put the side up, we'll take all this processing off first, and then the reverb and over drive, and then we'll just listen to the sound, how it sounds once you put the send through it and hear the effect that comes off. We'll put it all the way up. I can hear it just gives off a tail. Another atmospheric a tail coming off the rever off the sound itself. It's just a cool cool textual layer to have in your throat. Spa Comes through quite loud, so we'll just pull it back. F have it around minus eight dB. Now if we go to the convolution reverb, turn on the over drive, and then I'll turn on the reverb. So we'll go back into the convolution reverb, and I've just went through the different settings here, which you get in the convolution reverb. And I've just tweaked them slightly. I've took the meds out the higher mid part. I've took that out, I felt the sound. You see here is peaking quite a lot. So I've just tamed it a bit with the EQ. Position stays the same. Nothing done in the mod, the damp. I've just kind of attained the lop the high end by pulling in the three. Again, about the higher mid region. I've just cut it slightly with the number two node here. Shape that's the same as it is. I've not touched that. I've got the dry wet, 100%. The 150%. Now, if you have the size any higher. Have you listened to what happens when you push it higher. Listen to the tail. You So it's okay, but I mean, it could probably work in different sounds, but loses the phrase of the vocal. You pull it back around go to 50%. Find loses it as well, goes kind of higher and pitch, but we just keep it 100%, the predlay put it to 105. Just to give it a little delay before it kicks in, just to fill in that garter, that space that we've got after the vocal. Cool. Now in the over drive, 30% in the drive, 100% dry wet. I took the tone right down. Then I get two LFOs and mapped here to the filter, the both parameters here, one LFOs and the first one and this Fos and the second one. Rates are at 11 each Cx change that so it's slightly off. It doesn't do the same thing over and over. That's put it up to 16 or 21 even. Right to 11, 21 and the second one. It's on a sine wave. Then the reverb, 100% wet. Then we've got the decay at 3.02 seconds. I've took the low cut. I've took the high cut off the input filter. I just kept everything else as it is. I haven't changed anything. What's the sound, so I've listen to it again. You. Now, I'll show you the truck implementation in a minute, but I'll just give you an idea of what I've done. Now what we want to do here with the audio track is if you right click and an audio track, if you haven't one already. And for extension, you can take the audio from the convolution reverb pro and arm it. Now, let's take those off. Now what happens now is that's up to eight point. I'll keep it at eight, sorry. And if you hit play, you'll see that the reverb design I'll get sent to this audio track. You So it sent to the struck. So what I want to do here is, we're just going to hit record and record it out over the 8 bars. Sofa go. Sofa. Let's just drog it in, and then we'll hit me and J to consolidate it. Then I want to duplicate that track out. Let's switch them on. Let's put them back the extension in. Let's take the arm off. Now in the second one. Let's come down here at the bottom here on the left and just hit the reverse pattern. So now we've got these two layers to play with. One put the normal, and then the other ones reversed, which will now bounce off of this one as well. Just fill in that space here after that first convolution resample part. So hit play. Now, with this one, we could do some pitching. We could maybe pitch down five. Sofa. Nice, it gives off like an eerie kind of field. We go down to seven. So. Quite like that. Cool. Now in the sound itself. Let's do some further processing on it. Let's get an over drive. Take the auto filter off of there. I don't know why that's on there. Let's go to this one. Auto filter off. We get the overdrive the sound. So far gone. So far gone. Just booting it slightly. And then this one here. We've got an over drive. We'll boost it in a different area. In the frequency up around here. Let's put the drive down. So go. You can really hear that pons coming through when you boost the high. So. Do we come back in to my ideas. And you can see in this one. I've used the over drive. I've got the rear bonnet. That's pretty much the processing done. You can also, we'll do it with my one. That's the technique where you record the audio, then you can further do stuff with the effects on the actual recording itself. But we'll do one further thing, but we'll do. So this is the two here that I've got resampled. One's reversed. The other one is the resampled convolution, the original. So highlight them both. Click on it. Command G to group it. I'll just rename it, resampled. And when I go on the group itself, we'll get a glue compressor. I'll drop it on. Go. So it. We'll released medium talk, medium release. Let's put the make up up slightly later around 3.5 D B. Now in this one, this reverse one, I've pitched it up 12 semitones. So we may mess around with that, but I'll change the beats mode to complex. Come into this one complex mode. Let's go back in the group. And we'll get rid reverb. I'll drop it on. Put it into courts mode. I wonder what the shimmer would sound like. Sounds really nice in the higher end. It's put the shimmer. Cool. Let's maybe. It's got the lay on there as well. Pull the frequency in Ping Pong mode. They went down around 25 feedback around 25. Let's put the 34. Pull to selves a depth to that section to that sound. So one final thing we'll get, I think is a compressor and we'll side chain. Sidechain it to we've not got the kick in there. So we may have to create a side chain. So I'm going to come in here insert an audio track pull and we'll sidechain. And this is going to be turned off. So we switch it off. Give it a color, change it to gray. And I'm just going to grab a kick loop from one of my sample parks. If we go to loops, go to drams, go to kick loops. I'll do nicely. For demonstration, anyway. Let's draw it right through the track. Then let's just got a side chain setup. It's turned off. It has to be off, or else you'll hear it coming coming through the rest of the sound. So I want the resampled. Audio. Let's go to sidechain So ag. A minus ten dB gain reduction, pull the talk down ratio up. Cool. Now let's take it off the solo. I think that's all the processing done. So now let's listen to it from this point here in the track P variations soul fall. So. 15. Outside The Box Resampled Stutter Pads Live 12 Edition: Video, we're going to take a look at gated vocal pads. Again, these are really nice for ether depth, and just to add more textures to your tracks. So we've got the vocal phrase. You so. The first thing we're going to do is we're going to grab a compressor. There's a preset inside that Ableton over here on the left. If you scroll all the way down to the bottom, you've got a sustained lead vocal. Just to flatten the sound out a bit. Now we put this audio track down, put the resampling. So we're ready. Ready for recording in the sound. What I like to do sometimes is I'll record as I'm doing the processing, you can actually get a visual of what it's actually doing the sound itself. If you look at these little jumps, little peaks at the start of the phrases. I wouldn't mind getting rid of them. I just having it more flat, more sustained. So if the audio track set to resample, and if it arm the track, We'll just record in the vocal into the sound, and then just watch what happens. When we mess around with the parameters on the on the compressor, you'll just see the difference in wave form. Just hit record. Sulfa gone. Straight away. You can see Sofa go. You sulfa go. We take the makeup off. You sofa go. Put it back up to zero. You sofa go. You sofa go. Switch the lead vocal compressor. Sulfa Go on. Sulfa. Sofa. Perfect. So we'll keep the compressor settings as it is. If we delete the automation that's being recorded and if you just right click, everywhere you see, there's a red dot, right click, delete automation. So we'll keep the compressor as it is. Maybe pull the threshold down slightly more. Let's delete that audio track. Now, I want to grab a couple of audio effects. Let's get a reverb. Drop the reverb on. I put it 100% wet. Take the processing off in the filters. Take the chorus off. Take the spin off, turn the k. It's got an Q. To the Qate on. It's got a chorus. Yes. Yes. Yes. Perfect. Now let's get an auto pun. So this is the part where we get the star effect using the auto per, and to do this, all we do is pull the phase all the way down. Let's change the rate, but mess around with the different speeds with the rate. If you take the amount and push the amount up, listen to the star effect, the fact if you put it all the way at 100%, you'll hear it. Put the rate. Bark in the reverb. Style a bark in the dryway. See what happens? Yes. Yes. Yes. Yes. Cool. So that's basically the effect. Now we can resample that and do some further processing on it. So if we come to the sound, come to the start and then just hit record. Remember, the resample trucks armed, just hit record. And if we highlight that whole part, hit Command J. The console with it. We've now got a stutter pad. The cool thing with these is if you duplicate it out, you can stretch out parts of our track, come into the second one, hit the reverse button. And if we play that. That's a cool part for just before I drop, maybe in a breakdown. So you can just get really creative with it. So that's basically effect. Let's do one final thing you could do. This is all down to taste at the end of the day, you could either get another Q on it. You get an echo, put an echo on it. Get some feedback up to 85%. Th I some reverb in the echo. The K N. A really nice vocal starter parts. You can use just to add depth of the sections are trap. Of course, remember, it doesn't have to stop but you have there. You could do various. You could copy part out in a different section. Maybe pitch it down 12 semitones. Maybe use a section of it like this part here at Command E. Then again, just reverse that part. I could up into back up to zero. Use it as a transition effect. You've got a lot of uses for that sound itself. Like I said, are great and breakdowns. I just a in depth of interest of parts of our track. C. So I'll just show you the track implementation. Show you what I've got. Let's delete that part we've just done there. Keep the vocal there, switch it off, put the idea on. And what I've done here is scroll down. I've got a gated vocal. I've reversed it here. Also use the cross fades inside of a able, which are pretty cool for blending different sounds together, we pull it right in. So I just pull this is the fade for this one. I'll just pull it all the way back and blend it into this one. So there's not any clicks or ticks. It's quite handy for that. You've got a piece of audio that you've joined together, but there's a little clicks in it. Just split it and blend the audio together. I can just smooth out a sound. So let's heat it from this part. We'll go back to this part here, and we'll just play it from here. Buck if you want to heat it first, solo. We come in to the sound. So I've also done processing on it. I've got a roll off of lose in the Q. I've got a phaser flanger. Set flanger, 44% wet feedback around 60 amounts 64, 75 warmth. I've got another auto par doing the 1.5 rate like we've done in the sample pads, and it just moves the sound in the stereo field, just gives it a bit of movement. And then we've got the compressor, which is side chained to the side chain. And it just gives minus ten. We minus ten game reduction. So just pumps for the kick, and just hear it in the bar, pump in an ardenotic in at atmosphere in depth to the truck. So let's hear it from here, folks. Go soulful 16. Outside The Box Vocal Melodys Live 12 Edition: In this video, we're going to take a look at generating or making melodies from the vocal. And for this instance, we're going to use a midi track at first. We're going to drop the vocal in. I'm going to do some processing with it and just record it to audio. Cool technique. So let's right click Insert M track. Now, in the Mid track, we're going to use the vocal phrase that we have. You may have your own vocal. That's cool. So you highlight the Mid track. Click on it. And if you grab the vocal, and just drop it onto the Mid track. I'll open up able one simpler. So I've got to push ready to go. So you can try different algorithms. You turn on the what function. You can beat tones. Let's try beats first. Now, I want to use We'll go through the different parts. Pretty cool. Let's try. I'm going to try the end one. This is the one I like this part. Sounds pretty cool. And then if you zoom right in, we'll just make sure it's on the zero crossing. So we don't get any clicks or pops in the sound. Cool. I'll do that. That's the sound I would like to use, what would happen next, you can shape it. Start having effect. I think what we'll do is we'll pull a sustain right down. It's a more pluck air effect. Who should decay up slightly around 830? Cool. Now, if we grab ourselves on over drive, Drop the over drive on. Then just play it. Da da da da da da da, ten. Quite like how sounding there. Let's try getting a delay effect. I think I use delay on the original, but let's try it for this purpose. Let's try a filter delay. Obviously, we can mess around the different filters and the different delay times as well. I think we'll do that after. We've got a patern going. So let's get the rid re drop it on before the delay. Pull the Drive in around 28. Let's pull the feed. Pretty nice. So that's a sound pretty much ready, but what I want to do is let's get the drums on the ghost. We've got some kind of beat. Beat going. So the kick. Let's turn this off in fact. And everything from here down. We'll just switch off for now. Let's turn that vocal off. Nice one. So you're going to right click Insert Audio Track. We're going to put it to audio from this time. I won't use the resample function, audio from number two and arm Track. We're click on this one as well. We'll make sure they're both armed, tabling both armed. Hold on the command key and click on the second one. You can see it switches them on one at a time. If you've got the command key off. It just switches between the two different ones. But if you highlight the vocal, the one you're going to be using to create the melody first, hold in the command key at the p one. So let's try just messing around, coming up with different sounds that are then like a little melodies and stuff. Let's maybe dial back in the feedback was a bit too much. In fact, let's change it to 13 just now. O in the center and three on the left and the right on the filter delay. Let's just hit record. We'll just mess around. We'll record in the middy as well. So we'll have the mid there as well. And then what we'll do then we'll further process the sounds that maybe the delay ptern just to find something that we like the record out the audio. So let's just run it over 8 bars, and we'll just record until we find a partern that we like. I like this part. Put that one off. This one here. I like this part. This sounds in command E. We're going to this one. That one goes up at E flat. We're coming to this one here. Let's put that one. It's all right. Come back into the clip. Let's put this one up the E flat. Is there, and then put this one down. But we'll mess around with that one. Let's highlight them all. Come on, we'll welcome into the grid. Let's drag that across. Let's pull that one down. So let's duplicate that across. Now, let's just play with that pattern and play with the different effects that we've got on the chain. I quite like the sound of that meld there. So then what we do is commit the audio. So you don't get lost endlessly tweaking different parameters, et. It's that our tracks armed. We've got the midi information there. Let's just hit record. I'll just leave that there. Let's delete the midi track. So we're now committed to this audio here, which are fun, let's just keep resp. Let's keep ding different effects. Do it. First of all, it's got an EQ on it. Roll off any frequencies that we don't want. Turn it on it. Hard. It's got another brig border. Let's get more. Let's get another delay, a normal delay this time. Just put the filter in the there just to take it away from the notes that are getting played down here in the mid region. Just adds a bit of effects up in the top end. Cool. Now we could duplicate that out. Let's come into the second clip. Let's hit the reverse butter. Let's hear how they sound together. Let's put it in a complex mode. Let's pull the volume down. Let's try pitching it down. Not killing it pitch down. Keep it where it was, or maybe go up 12. Keen on that part here. I like how that part sounds. So you could work with that, chop it up, use this part. Maybe have it placed around different parts in the meld. Maybe take that part. Okay. Cool. Adds a different texture of the Tx. You go that's creating your own meldas. That's just a basic version of it. You could further manipulate the meloda. You could change, little key changes in it as well, using the transpose. So if you wish to say, for example, P second part. Maybe transpose it up. Or even better, you could use the envelopes for the pitch. Could you change the pitch in this one come down. Well, not keen on that. Maybe go. The That's about edginess to that part there, so you could mess around with that as well. So it's just a basic understanding of it, creating your own melds by dropping it simpler, then recording through effects in another audio clip, committing to the audio. Then you can always duplicate it out to re sample using the reverse function. Another good one as well, is if you duplicate it out, let's come to this one. Let's pick it up. Let's go up to seven semis. Then just knock the start marker off. And here how those two play together. Okay. Cool. Give something else, something different as well to the track. So you can also mess around with that. I have three different layers on top of each other. So there you go. Let's hear it. In the context of a track. Now I've got my ideas here and I've done the exact same is what I just showed you the technique the Vocals Get rid of this here. Let's switch all these on. Come on. On. I go. O thing I'll switch off is the vocal Meld Middy. So I just took the made my old melody. We sold it. Then I just duplicated it out and we got the reverse effect. Pretty cool, and it sounds pretty good for the rest of the track, so let's hear it split from here. Yes. 17. Outside The Box Turnarounds and spot FX Live 12 Edition: In this video, we're going to take a look at turnarounds and spot effects, recapling turnarounds? They're basically at the end of say eight or 16 bars. You've got a little effect. It's like a transition effect. It turns things around into the next section. And your spot effects is like little hits you can use here and there inside for a groove example, just to have a bit of movement, a bit of atmosphere of your truck. So we're going to right click Insert audio track. And we're going to set it to resample. And then we're going to switch off all these melodic elements. We're going to resample these sounds. Yes. Switch that one off, the ideas on. Switch that one off. I think we'll switch a kickoff as well. I think we'll use that. I think we'll come over this part here. Go. It's just hit record arm the track, and the audio. We're going to hit record. Record out. We'll go for 8 bars of audio just so we can use that. We didn't even have to do the 8 bars. I mean, 4 bars was plenty plenty to play with. I it in over four. Come on, consolidated. Who? Let's see what we've got here. Now, obviously, turnaround. Let's take this first part here. Let's drag it across. Let's hit zero on the clip here, mutes it for now. We're just going to work with this little one here for this turnaround just before bar bar 17. Let's hear what it sounds like, then we'll do some further tweaking if necessary. Let's turn it down. What we want to do as well is get an Q on it. Roll off around 240 hearts. Now you can hear that phase help them with the clap. Now, what's cool to do here is if you hit R to reverse it. Cool. Now let's take all these sounds, switch them on, see how that sounds for transitioning into that part of the track. Let's take the kickback on. Let's go to bar 13. Cool, little effect. You could also. So that's one idea you could save. We could just maybe copy it across this rename transition one. Let's see what else we can do. I just part here. It's almost like the base sound. Let's take that. Let's delete them. Let's come into the base, double click on the clip and come down here at reverse. No, sorry, and come down here at the times two function. That just stretches it out. Let's hear that. Let's put it into complex mode. Let's turn this into complex as well. Makes it a lot more smoother. Nice one. Let's get an over drive on it. Next one, let's go chorus. And if you go to presets, we get Chorus base, drop on. Red. Quick like how hot it sounds. Let's leave it like that. Feedback at 89%. R. R. R. And maybe get a delay on it. Put into two feed around 80%. 99 in pink pole See that sounds like. Let's go to three. I think we could make up a bit more posperic so again. I think some re erbonic a bit of space that would sound really nice. Let's get reverb. The decay. We put the delay right before the reverb. Ts better before it. One final thing we'll get as a compressor and we'll just Schick to the kick. I'll just sin the side chain. What I mean? Okay. Side chain. Such on. However, it's got to be playing for it to be on. Around 17 game reduction. Cool. I wonder how this one sounds with all the effect on it. Such a layoff. Let's go the Q up way off again. Maybe too much feedback. Let's go 70%. Key and with the effects. It's a different type of different type of transition effect. Let's group them all up so we can switch all the effects off and just hear that one again. Yeah, it's just a different effect. You could obviously have that in a different channel. C transition one. Trans two rounds one. Cool. So you could obviously have that one there. Then use this effect. If the effect on over here before this part Now, let's try using something else for like spot effects. See if we've got the sound it zero to open it up and see what kind of sounds we've got on this. That part there seems to be layered up like a heart This one. Yeah. I could use two of them. So what I'd like to do in sense. It's get sense setup. Okay, we've got these here. We've got a long reverb medium long sign. Maybe we'll try the long reverb first. He matching the long reverb. Play it near the start here. You something like here, before bar bar five. Play it on the downbeat. It sounds pretty nice. They be something around here. 16th notes. And here. I think this one needs an Q on it. You can hear low end. Keep the way off. Keep the compressor on. We'll keep the reverb on it. Let's try that. Higher up in the drive here. Let's take that. Get back from the start. Over drives back out. I went down in the reverb. It's better. And this one here, and then reverse it. Reverse. Okay. Go. Then you can maybe get the sound. See what else we've got on it. Let's pull it down. I listen. Let's switch all the effects off. Take the three verb off. Let's use that clap we've got at the front. Let's let it out. Let's put it to no. A y a cap. It's pretty cool. Get some reward on it. Because you're using sounds from the truck from the truck itself. I just everything gels and it sounds cohesive. If that makes sense. I think that would sound good. The delay on it. Switch on drive off. Take the reverb off. We've got it on here. It's got a delay on it. Five, we get an over drive up and it's here like a high end. Won't mind like a high end a crunch on the caps. See what it sounds like. To. There you go. Real resampling for turnarounds. For these like reverse, can have effects that go into each section. We've also got a one of the base. We a bit too much in the chorus chorus base. You tweak with that. But just resale, we have there the drums, all the drum sounds. Then you can just in the base as well, some of the bass and some of the effects textures as well were in there, but it's just good to be able to cut it up. I just use it to create a little spot effects and transition effects. It's got a good touch.