Ableton Essential Exercises Level 7: Masterclass in Chords | STRANJAH | Skillshare

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Ableton Essential Exercises Level 7: Masterclass in Chords

teacher avatar STRANJAH, Music Producer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Intro: Setting the Tone: Discoveries Ahead in This Chord Masterclass


    • 2.

      Unlocking Ableton: Master the Scale Feature


    • 3.

      From Reese Bass to Harmony: Crafting Perfect Sound


    • 4.

      Triad Magic: The Key to Simple and Powerful Chords


    • 5.

      Masterclass in Extensions: Crafting 7th, 9th, and 11th Chords with Ease


    • 6.

      90's Vibe: Chromatic Chords & The Secret Sauce


    • 7.

      Elevate Your Progressions: Mastering Inversions and Voicings


    • 8.

      Ultimate Nostalgia: Crafting Ultra-Thick 90's Chords


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About This Class

Chord Progressions Masterclass with STRANJAH

Unlock the secrets of captivating chord progressions with STRANJAH's definitive masterclass. Dive deep into Ableton Live’s tools and techniques, while gaining universal musical insights applicable beyond the software. This class marries the technical with the artistic, ensuring you leave with both knowledge and inspiration.

Key Learnings:

  • Mastering Ableton Live’s scale feature for chord optimization.
  • Introduction to the language of music: From triads to 90's vibes.
  • Crafting extensions: The simplicity behind 7th, 9th, and 11th chords.
  • The art of chromatic chords: Infusing nostalgia in modern tracks.
  • Techniques for advanced progressions: Inversions and voicings demystified.
  • Gaining flexibility: Techniques applicable even outside Ableton.

Embark on a transformative musical journey with STRANJAH, and elevate the soul of your compositions.

Meet Your Teacher

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Music Producer


Hello, I'm Stranjah and I am a music production instructor!  Through my 20 years of producing music for international labels such as Hospital Records and Metalheadz, I bring a wealth of knowledge and insight to students who wish to learn music production but are having a challenge getting started.  I have been teaching for almost as long as I've been making music.  I started by teaching friends and colleagues, and later evolved to teaching professionally in group and 1 to 1 classes.  My teaching style is direct with a simple step-by-step approach, ensuring that students can follow along and progress.

Feel free to drop me a message if you have any questions!

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Level: Beginner

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1. Intro: Setting the Tone: Discoveries Ahead in This Chord Masterclass: Welcome fellow musicians and creators. My name is strange out have been making music for well over 25 years of leases on established international labels such as hospital recordings, metal heads, and critical Music. And today I'm honored to share with you my masterclass on chord progressions. Understanding chord progressions can often seem like deciphering an intricate language. However, with the right tools and techniques, it can become a universal language that anyone can speak. This class, we'll dive into my personal streamline method of creating Chords, simplifying what might seem complex, while our main tools will be Ableton Live and it's Scale Feature, the concepts here can be applied across any platform. So even if you don't use Ableton, the knowledge here can be relevant. In this class, you'll learn everything from building basic minor triads, and then we'll build on top of it, learning how to create a sevenths, 11th, and even ninth chords. Then we'll take a step further. What's a technique called parallel or chromatic chords, which is used a lot in '90s music, especially in jungle house and even UK garage. Finally, we'll dive into more advanced topics such as chord Inversions and Voicings. By the end of this class, you'll be able to make your music sound more rich with more deeper emotions was Simple techniques. So join me as we navigate through it as thoughtful approach to create an chord progressions together with both fine structure, their freedom within the world of music 2. Unlocking Ableton: Master the Scale Feature: Hey, welcome to ableton Essential Exercises, Level seven. Today we're going to talk about writing chords and melodies on top of baselines. So if you haven't done the baselines class yet, make sure you check out ableton Essential Exercises, Level four where I show you basic tips on how to write baselines. We're gonna be building on top of this skill set. So I've a basic beat, his ear, drum and bass beat with a four, no baseline here. This is all written into key of a minor. So if you're using Ableton and easy way to identify that you're in the correct key is you can choose scale here on the top-left and then find the key that you want, which I usually teach a minor because it's really easy. It's all the white keys. So here are all the keys on the Scale, and we have a minor selected here on the top-left panel here. Now there's a second Scale button up here in the top left of the key role. What this does is it hides a new key that does not belong to a minor. So subsequently if you hit it, all the black notes are hidden because as I just mentioned, a minor only includes the white keys on your piano or a keyboard. So by doing that, we now can see these, all these nodes belong to a minor. Let's say I had a note that doesn't belong. Let's say this F was F-sharp. Instead. If you hide all the nodes, show that F sharp. You see it. It's, it's, there's this gray color here, indicating that this key does not belong to the Scale. So that's a quick indication. If you have a note that does not belong, then you may want to correct that. So we'll bring this back down to F. Now, most of the time when we're writing Bass signs, The Key of your scale is the first note of your baseline. However, in this baseline, The Key of the Scale is actually the last note. So sometimes that does happen. There are no hard rules and Music it, you don't have to start with first key in your scale as the first note in your baselines. Sometimes it ends out as the last note. Sometimes it could be even in the middle. It just comes down to the baseline, your writing and divide you're going for. So let's hide the notes again. And I'll play you this baseline so you can hear to the Vibe. So we're just keeping a basic right now, one note every bar. So, just so you can get the basics of writing a chord on top of the baseline. 3. From Reese Bass to Harmony: Crafting Perfect Sound: So the approach I take for writing chords is a no-brainer, almost no Music Theory approach. Essentially, what we're doing is we're building harmonic layers on top of these root notes. What I mean by harmonic layers is keys that play on top of the root. We say Harmony because these keys just play and Sound good on top of the root node. So that was what we mean by Harmony. When things are not in harmony, they're at peace with each other when they played together. There's consonants as opposed to dissonance. So things just sound, right? So what we can do is we can populate another Instruments. So I pulled in Ableton is Piano here, so you can, if you have Ableton sweet, you can simply go under the sounds category on the far left, the browser and type in Piano. And it'll be easier to find is usually found under the group called Piano Keys if you scroll down. So there's a number of Piano Instruments, so we'll keep it at stock Instruments, so it's easy for you to find as well. I'm using a very basic serum patch for the baseline. All it is is a saw tooth with a unison mode at five, and we're adding a high lowpass. So I'll just show it to you from the start. So this is a sawtooth bring up to five to add some detune fatness. And you can play with the detune amount. Now, we can filter it using a low-pass filter and that just the cutoff to taste. I usually bring up the drive to add some meat to this very simple patch and you can follow along and recreate it and create your baseline. So simply what I do it when I write the chords is you can copy the base clip into your piano or whatever instrument you're using. For this particular example, we're just using Piano because a simple Sound, every know, everyone knows what a Piano generally sounds like and it's easier to hear the note. The notes are very clear in a Piano so we can hear what's going on with the additional notes on top. If you can use whatever you like. I just think Piano, piano is a good place to start. Of course, once you find a Chords, you're always allowed to change the Sound, switched a preset to another science such as eye pad instrument. What we're gonna do is copy the base clip. You can Control C and then Control V, or use Command C and Command V if you're a Mac, right, and paste it in. Another trick is you can hold Control, click and drag dot copies as well. And now we have our Piano, we're just going to solo, but the piano instrument can replace this with Piano chord. It's always nice to rename your clubs for organizations sake. 4. Triad Magic: The Key to Simple and Powerful Chords: There's less same chord progression we were playing with the baseline. Again, if we turn off the Scale was seen every note in the key. But just to make it easier, we're going to hide the unnecessary nodes to make it easier for us to write it chord. So what we're gonna do is we're going to add a note on top of each of these root notes. So remember the first note of your chord is known as the root note. So F is the root note of this chord here, D will be the root note of the second chord, E for the third chord and so forth. So the very first I'm most basic chord is called the minor or major triad. Essentially, what a triad is, is it plays every other note in it scale, right? So if we're looking at the a minor scale F chord, it wouldn't be F. Okay. Stretched us over. It has that DO Re Mi. So when you hear that DO Re Mi, that's the major chord. The reason why we have majors and minors is all just, let me exemplify what we're hearing here is a major because it sounds happy. Do Re, Mi, see how it sounds nice together. If you were to bring, we call this the, the third ray. This is the fifth. This is 135. If we were to hide unnecessary notes, again, we can count in a scale. If you're counting up to write a chord, this would be 12345. So let's create a scale. It's always note 135, right? So this is a major because that sounds happy. Now, if we were to bring the third down by a semitone like here, now we have a minor triad. Listen to this. To make it more audible. We can move the chord up an octave. You can hold Shift and up while selecting all the notes. We just moved it up. An octave. Doesn't change the core because we're still hitting the exact same notes, just an octave up, right? As opposed to where we had before. The major chord, FAC, mean it back down to D minor, Re, Mi. This one sounds a bit more sad because this third is diminished. It's a flattened, right? So that's just so you know, what is a major, a minor chord. Now, if we bring to scale back, we can see that this G-sharp, it's identified that G-sharp actually does not belong to the Scale. So into key of a minor, F minor triad does not belong only the major triad, so this belongs. So let's hide that again. So in the key of a minor adjustment, repeat myself again. There is the F-Major chord, right? Let's were pete this process and write D minor chord. So immediately, just from instinct, I knew that the D chord and a minor is actually a minor chord. So this is a major, and this one's a minor. So let's shows that in every scale, there's a combination of major and minor chords for each key in the Scale, okay? That's right, the E chord, which would be E, G. So that's also a sad chord you can tell about a Sound is just sounds cider. You can expand just to test it out. If we bring this up by one, we have that's happier sounding, DO, Re, Mi. But this chord does not belong in the a minor scales. We bring this back down. Okay? Finally the last chord. Okay, now let's play it with the baseline just so you can hear it in context. Alright, so that's Sound good. 5. Masterclass in Extensions: Crafting 7th, 9th, and 11th Chords with Ease: Let's make another copy and let's build on top of this. Okay, so I'm going to call this assay triads. Alright? I'm going to call this sevenths, okay? Now the reason why I called the seventh is I'm going to add onto them triads here. So remember, we have a count 12345. So I triad is the 135-13-5135, right? Counting from the root, the root is one and the count up, right? So there's another really easy chord that's used a lot in drum and bass, jungle and old school music, even an R&B and hip hop. It's got the seventh chord. If you add an additional note, not this, not but you see the pattern here. We're skipping every other node, so 1356 or seven. So this is why we call this a seventh chord because we're adding a seventh on top. Right. Listen to how jazzy that sounds. So let me solo the track again. That just sounds so good. We can repeat this process. I had another one here, here. Here. That's just give me, giving me the fields. We can take this even further. We can duplicate this call this, let's call ninth now, right? What happens if we add another note on? Let's keep going. So run number 135789. So let's add a nine. That deaths one doesn't really work for me. It's doing something weird when I hear it, but we'll just keep going as we build onto it. Let's just see what happens. But the baseline, it sounds funky. You can keep it if you like or if you don't. It's totally fine. Sometimes you can have a combination of ninth and seven. For example, you can mute this one's on test will be a seventh. Sometimes you can double up notes. We'll get more into this later. But for example, if you see a G down here, you can also add a G up here. This is still playing a seven is just that there's adding additional notes from the common chord of notes here. Okay, Let's do one more. Let's see if we can find some 11th right. Now, the reason I'm doing this, This show you the concept of this. It may not always work. I'm going to show you something cool once we get through this. So we have 13579 and let's add 11th. Oh, that sounds great. Let's just keep, keep, delete this note here. Let's put on a 11th for each chord. That one sounds a bit odd. I think we have an extra note here, 1357911. So I had an additional note there that didn't belong 6. 90's Vibe: Chromatic Chords & The Secret Sauce: A couple of these chords were some are a bit odd. However, it's all about experimentation. The reason why I'm showing you this is we're going to now move on to a concept called parallel chords. So just keep note of our original baseline which went from F D E, K. Remember our baseline here, F, D, E. This is the root. This is the main foundation for our Chords. There's an old school way of writing chords. I'm gonna just call this old school board. Other way of calling is parallel or chromatic chords. Okay, just expand on this. So the way the concept of parallel chords is, instead of using the Scale and finding the chord for each root note session, what we're going to do is I'm going to remove all these midi notes here from the chord. So now we only have the roots and the Scale from here, right? Actually what I'm going to do, Aisha, I'll keep this concept of parallel chords is instead of using this scale feature. But it gets rid of any notes that don't belong where simply copying this chord and then transposing the chord based on the root node of each baseline here. So I'll just show you how I did that. I'll undo. All I'm doing is I've slackness. First chord, this first combination of notes, I'm holding control. I think on Mac is Command or Alt. Click and drag it into place. So drag it into the root node. So DIY, do it again. Select these nodes, ***** control or the MAC alternative, click and drag it onto this root node, which is E. This is where you get this jazzy five. You're playing chords that don't, may not necessarily belong to the a minor scale. Watch when I hit Scale and hide denotes, you'll see there's a bunch of nodes that don't belong because we're simply dragging this first chord and moving it and transposing it. So because of that, certain notes may not belong to the Scale, but it gives us funky, jazzy Vibe. We'll try another variation of this. Let's try this again. Okay, let's start over again. This time I'm going to start with the a minor scale here. So all I'm doing is writing you seventh sus time because seventh seemed to work a little bit better for this technique. So we have a seventh chord here. Okay? What we're gonna do is unclicked scale, drag these notes. Click, drag, right? So we're copying and transposing. And that sounds much better. All we're doing this and we're putting This Chord, which I believe a seventh, minor seventh, right? My good friend, zero equals zero is the coldest, The Jungle method of writing chord progressions because you're not really respecting the traditional scale here by including those that don't belong this old school way of writing chords. I'll show you where this comes from momentarily, but it just sounds very sweet in nostalgic. Let's add it with the baseline. Let me, let me play this against the traditional seventh chord combination, which is over here. Versus this almost this nostalgic vibe with this version because there's these notes that don't belong. Add that jazz. Let's kinda what jazz, there's these kind of really toying. He knows that may not belong. It gives it that Vibe. Again, process, I call this chromatic or parallel chords. All you're doing is you're trans, you're taking a chord, transposing it along different keys to create a chord progression. Let me call this a shot, and that's parallel seventh chords. What if we try with a parallel ninth chords? Will that work? Let's say, you never know until you try. So again, the process, I'll remove all the top notes from the chords. I'll keep this last one as a basis. The reason why I'm keeping this one as a basis, as we know that we're working the key of a minor, one to the main chord, to be the deep a minor chord. Just so things are in harmony that way. What the key of a, so I'm going to add a seventh. Here's a ninth, so now we have a ninth quarter. Let me just solo it again. That sounds super sweet. Unclicked Scale again. Select these notes and then copy to each root node. Let's check that out. My gosh, that sounds so good. Let's hear what the baseline. Let's try transposing this one octave. Select All, so Control a or Command, Shift and up. I share. Sounds good down here. Let's keep it as is. Save this file just so you guys have it. I'll just save it over here. Make a folder for Skillshare. I'll call this class seven Chords. Loving the sound of that. So let's take a step further and build on your skills. 7. Elevate Your Progressions: Mastering Inversions and Voicings: You know how to build basic triads, seventh, as well as the concept of parallel or chromatic chords. I'm going to build your skill set here. Once you have a chord progression locked in, you find something that sounds good. We can play with what's called voicings. And we're going to teach your voicing with some basic triads first, just so you can get the idea. So I'm going to call this triads voicing. Okay? So back here, I'm just going to hide all the unnecessary nodes just to make this simplified for you guys. Voicing, all this means is changing Order of the notes in a chord. So although this is an F triad, F major triad, it doesn't mean a has to start at F, right? Order can be changed or inverted, right? So for example, the F can be at the top like this. That's still an F major triad. It changes the vibe of it versus this one. Right? We could do this The, each one of these nuts, just select the note. I'm going to select all three. So select Shift, hold down Shift and click, Shift and click. And you can then hold Shift and hit the up arrow to move these up. So all we're doing is moving the bottom or rootNode up the NAACP death, boom, like that. It's the exact same chord, but the Voicings has changed. Or another way to say is we've inverted the chord versus just changes the vibe. And really, there's no right or wrong. It's what sounds good to you. Here's another inversion. We can continue playing with the order of the notes. Now, we're going to play the order of debt. The third, remember, this is the third of, remember 12345. This is the third of the F major triad. Select each one of these thirds, and then hold shift and up. So now there are an octave up. In actuality, let me undo that. So you guys have all the files. I'm going to call this first voicing or first voicing. You can go first and Voicings, Inversions, right? I'm call this second voicings are Inversions. Just so you had all the midi files. Again. Take note here. Shift up. Alright. Now watch what happens if we take this bottom node, which is actually the fifth of the chord, the third note from the chord. We shift it back up. Now we haven't the regular voicing again, we're back to F, a, and C. So every chord with respect to triad has three Inversions, or there's normal and then the two Inversions, that's what I mean by that. There's three different voices. We call each one of these are different voicing of the chord. So there's the regular voicing and there's the two inverted voices. So that makes three Voicings. So this is the same as the Chord way down here, just an octave up. So just as a review, take the bottom note, select and then hold shift and lift them up. You can again keep doing this. Okay, So you've learned about the three main voices of a minor or major triad, you can take It a step further and play with the alternative voices for chord. So don't have to belong in the same range. You can actually take the chords. We're going to take the root note this time. You can remember F is the root node here because we've inverted, right? So we can take this one. So the root node would be the middle note this time because of the Voicing, Let me just make a copy one more time. We go Hall this third voicing, right? There can be so many different alternative voices. I'm just going to make sure just call it alternative break. Let's say, you know, and I'll call this Main right. First voicing. Just so you guys don't get confused. I'll call this second voicings. And this will be third voicing. Write B for 44. Okay. Dissect an organized for you guys so you can review it. So back to this. Remember this note is the root because we've inverted this chord, right? So we can actually move the root down, down an octave here. So this is an interesting voicing. And does it makes the chord a lot more richer because it just has a unique tone as the to the basic 135 with adjacent nodes, it just sounds that Simple triad that we had here. Nothing wrong with it, but it does sound a bit, I guess, for lack of better terms, Juvenal, because it is so basic. Once you get more advanced, you can play with these interesting voicings which adds depth and richness to your chord progression. Now here's a tip that some chord writing and Music Theory teachers advise is that typically within a chord progression, you'll want the range of notes to be in a call mature age. So looking at this, it looks like this. A is a bit far down from all the other notes. So what's the way you can do is take to say, move it back up. Now, that sounds a bit too close. You looking at these, you want to maintain something that just by visually looks a bill market together. So it was down here. We moved it up here. Looks a bit weird. Moved out here. Now, this looks a lot more cohesive. Now, let's listen to it. That says, very interesting. Let's take this bit further. Remember to root notes. It was also a up here. We can further add richness and depth to this core by adding another, duplicating this an octave down, right? Okay, at this adds meat to the chord. Now this note here, this a as a bit too high for here we can move it down. Can even move it one more down. So matches the baseline. Data is very rich. Let's hear it with the baseline. Now. Remember these four nodes, FDA. Let's go back to the bit Bass. Fda is the same notes simply playing the bass line. So what, sometimes what you can do is you can omit the root note, the bottom notes from the chord, since at the baseline is playing it, you want that Bass to fill that, that range. But sometimes keeping that Piano there is a nice complement to the baseline. It's really up to you and how you want your core to sound. So let's hear it without it Here's another tip. You can play with the velocity of each one of these notes. Not every node has to play at the same velocity. Remember, velocity is how hard you're hitting that note. The harder you're hitting a note, The louder. So sometimes we want that bass note, that bottom note to be a bit lower. So we can select those root nodes at the bottom and just bring them all acini down. A bit less audible and it doesn't interfere with our baseline as much. Still there to add better beef to that chord is not as upfront like here. Alternatively, any of these other nodes can be altered in terms of the velocity. If you want certain notes to shine, make the velocity a bit louder. If you want certain notes to be muted, bring it down. Sometimes they want the high note to be muted. Let's take the voicing a bit further just to really nail this point down. So remember, our chord is F a. Alright, so we have an a up here. What happens when you can Aimee, one of these notes can be duplicated and added on top of the chord. It's still a minor or major triad because there's really three notes here, is only that some notes or duplicated, F is duplicated here. But the general tonality of the chord is still F, a, C, right? It's just that some of the notes are duplicated, but still playing a triad, although there are certain nodes are duplicated. So for example, the sea can be copied up here, right? Or we can move the C out here. It's really up to you. Or we can add another F on top. Remember, our chord is F, a, C. So any of those three notes can be added on top, and it'll still be the same triad. Kinda like the sea on top. We can do the same here. So now the chord is getting a bit complicated, so I'm starting to forget where we are. So this is the eat D. So, so we're going to duplicate the a. And this is E chord. So we're going to sit, there's already an a G here. Let's duplicate the beat. Dad, over here. We have, so this would be the a chord, a, C, and E. So is there an a here? So we can either add a C or an E depending on how the sense nationally, I don't like to see as much up here so you can remove it. Not every chord has had the same voicing. Each chord can actually add different voices. One I'm gonna do is I'm going to take this top notes. Random velocity down just a bit, just these three top notes. Sounding super sweet. 8. Ultimate Nostalgia: Crafting Ultra-Thick 90's Chords: Let's take this home for one more experimentation here. Remember we're playing with the parallel Chords. Let's go back to the parallel chords here. Bring it down, will make a copy and we'll call that alt and Voicings. Right? And I'll just hide, unhide, the Scale Mode. We start from scratch again. We have the main chord here, so we're not worried we can start with the F chord here because this chord was basically based on a chord. So this exact same thing if you copy, paste it to a. So we're not worried that we're starting with this chord this time. Let's just remove it. And let's play with the voicing of This Chord first. I'm just going to unhide to scale feature for now just makes it more visible. So I might want to shift certain notes. For example, I might want to bring this F note down here, so make a copy of the F note. That's how super thick. Now, let's maybe shifts this one. We can. It's all about experimentation, to be honest, I'm not even sure what I'm doing here. I'm just going to mess around and see what chords we end up with. We maybe shift this G-sharp up here, right? That sounds interesting. And maybe you can bring this xi back down here. Right? I'm just playing around here. That's interesting. Maybe this F We don't need anymore and we have an F down here, right? But remember our options are F. Well, I kinda forgotten now because we have this crazy chord, but that's okay. We'll just play around with the notes we have. Duplicate them. What about adding a C here? Since we have a C up here, kinda fills it. Kinda like that. So let's just, you can zoom. So once you have a chord or the high range of nodes, it may start becoming difficult to navigate. So you can hover over to this area where you see the microphone magnifying glass click and drag to the left to minimize, to click and drag right to maximize. Alright, so bring it down so you can actually see what you're writing. I'm just gonna keep this muted note here in case when we want to bring the F back, another tip here. You can also double up the fifth. So remember our largest scale. So you remember our F chord would be at C, right? We can also double up this C here on the bottom. This tends to thicken up the chord. Super sweet. Okay? We can now copy This Chord. Click, drag, and copy to chord for every root note of this baseline now will have this. Now that we've copied the chord onto every root note here, where it's starting to send that this one sounds a bit too low in comparison to all these other chords. So remember, we can shift notes and Voicings to get them all towards a similar range. So this is where we have the experiment. This here is way too high, so maybe we'll meet this eighth notes. Because we already have an a down here and down here and this F note, perhaps we can bring down. So just select the note hold, shift and down, maybe down here because having adjacent nodes like this sometimes doesn't sound good. Let's just hear it. Sounds okay, but let's bring it down here. I said it's a bit more harmonious. And let's play with these ones up here too. We need to be, maybe we don't need to be so we can remove it. Just remove this note here. This G, right? Perhaps what we need is double up the bass notes here. Remember it's F DEA starting to, so D. Let's just hit the Scale Feature. All I'm doing this, adding that extra fifth, 1, 2 3 4 5, 1 2 3 4 5, 1 2 3 4 5. Let's save that, fills it up. Now these chords are signing super thick. Once you get through this, you're gonna be a mastermind or writing chords. So once you find a Chords, Let's play with different sounds. We can pull in another instrument you can love her pad sounds as time. Perhaps this Sound, Edison New tracks. So we can just simply click and drag the clip and hear how it sounds. Wow, old school retro Django vibes. Now if you don't like this preset and you simply choose hot swap. So this icon on the bottom right or top right of your device. If you hit that, you can try simply swap it with another preset. Now once you start stacking notes, it's got to be a lot of gain. You might notice that your instrument is red lining because all of those nodes are playing to gather. So now you're adding so much input into that instrument, you may have to adjust the gain of that instrument. Now, this note here I'm just going to hide, I'd like When it sounds like it's going 123 and a down. That sounds a lot better. Okay, Remember it's all about experimentation. Just got to tweak as you go based on what you're feeling and that note just didn't seem right. Let me just play it back up here. Just didn't make sense. It felt more resolved once and I hit go down 123, down. Amazing. Peer jungle vibes. You may know that my master's red lining. I'm kinda notorious for this. If you're noticing your music as redlining, just bring down the levels. Sasha, better as a practice to, instead of changing the gain, the gain fader adhere to, adjust it in the actual Instruments. So we're going to bring to Bass down on the master here. The drum, this can be brought down. Easy way to bring the drums. Then if you have this instrument, just pull in a utility as an audio effect and then this game be brought down the negative two. And then same for this pad, we can just adjust the volume on this top. Bright perimeter. I'm starting to feel jungle vibes just so we can feel this in context. Why don't we look for some break beats? And by the way, I'm using some breaks from the acid labs sample pack. You can find it a deviant if you're interested. But basically there's some nice AM and breaks here. You can also check out the OG jungle sample pack and I Siemens on there as well. That sounds good. We'll just add that into the truck and wonder how I'm slicing these breaks, checkup, my ableton Essential Exercises, I believe it's Level four with where we talk about chopping breaks. A sense, a bit messy and it's got clean up the notes just quantize this aim in here. So it's in time. I'm just going to duplicate this, crack, this aim and just get rid of the car crash. And a second instance here