Ableton Live 10 - Create, Record and Edit Your Own Music

1. Welcome: Hello and welcome to the Complete Able Turn Live 10 course of me, Thomas George. I'm the creator off the complete able to live nine course. Also music very for electronic producers. Course. So in this able to live 10 course, I show you onscreen step by step or the main functions and features so you can create, edit and record your own music. In ableto Lifetime got tons of things to show you were going to start off looking at navigating yourself around Ables and Live 10 were then look at recording on editing Midi on audio. So things like warping audio but then have a look at setting up so things like the main preferences control bar on the browser. Then we're going to look at the instruments so things like the wave table synth tension instrument, the drum rack, the investment rack simple a sample operator, synth electric and more. Then we'll have a look at the audio effects, so things like e que compression limiter delay. Then we look at midi effects, so things like the arpeggio later chord and scale. Then we've got even more features to look at things like quanta izing, midi mapping on export settings. So if you want to learn able to live 10 with me on screen in a step by step, easy to follow format and make sure you enrolled in this course. 2. Introduction: Hi, It's Thomas George. And thank you for joining me in this complete able turn live 10 calls. So what I did is I actually filmed this lecture as one of the latest lectures. So I'm going to give you an overview on Scream of Me. Now what you're actually going to learn in this course begin to start off with navigating yourself around able to life, So learning what the main functions and features actually do. We're then going to look our editing and recording midi and audio. So this includes warping audio. After this, we're going to look at setting up. So things like the preferences, the control bar, the session view on the arrangement view. Then we're going to look at some of the new features for life 10 which include the wave table synth capture echo on the drum bus. Then we're going to have a look at the racks. So this includes the drum racks, the instrument rack on also the midi effects rack. Then we've got a whole section all about the simpler and sampler. After this, we're going to have a look at the audio effects. So things like Kiki compression limiter and chorus. Then we look at the MIDI effects of these includes the arpeggio data scale on pitch. And then we've got even more features, which include quanta izing, many mapping on export settings. So thank you again for joining me in this complete able to live 10 costs. I've got loads of stuff to show you. So let's skip forward and go to the first lecture. 3. Main Overview: Hi. Welcome to this lecture where we're going to have a look at a quick overview off able to live 10 you have never used able to like before. This can look quite daunting. You might be thinking, What is going on? Where's my timeline? Why does this not look like logic? Pro war pro tools What All these little mixing channel things but explain what they are used previous versions of able to live, like able to live nine or maybe even able to live. Eight. It's very similar. The layouts, I'm sure used to it. But what this is here, This is called the session view. So this is really great for actually making little clips and adding clips and playing little beats and clips. Then if you hit the tablet and you will go to something called the arrangement view. So this is more kind of a traditional layouts linear, so have time based time at the bottom. Then if we hit these buttons here, which actually make up the ableto logo if you notice so we have the the arrangement view and the session view can switch back, or we can hit the top button mine actually looks a little bit different to yours of actually zoomed in quite a lot just for these tutorials, really, so you can see what's going on. We can also close sections with these arrows on the side. If you do want to change the size, you can go to the live shows up preferences, and then go look feel and you can change the zoom display. I'm just doomed to end, so it's easier for people to see what's actually going on. Okay, let's go back to the session view hits up. So this is the session view. This is the arrangement view. If you've used digital audio workstations before, you're probably used to this layout. Off the arrangement view, however, the session view, like I said, it can look a little strange can not like you on the mixing desk to start with, but it's not like that. So each one of these has loads of little clips you can actually make, and then we can trigger the clips individually, or we can play a row of clips. So this is really useful for live performance so you can trigger stuff. And it's also useful for creating the song. You can add lows of little clips, play them and then what we can do is record it to the arrangement, which would look at in a future lecture. So what we can do is actually create our own parts were called them in. Or we could just use some of these clips and samples that ableto life actually has. So let's just use a few of these samples. I'm just going to type in drums, so these will give us some audio samples. Give us lows a different drums than what we can do is just drive them in. Drag this in here. Then let's tope in base and you might notice you just get one hits like this. These could be sampled. So say we want this base Parts Way will have to correct new audio track. We want this separate, so let's go create new audio track and then another audio track will appear next to it. Let's just drag the base here. Then we can go. Commander renamed their space, and now you can play these little clips. So that's the slip. This'll notice is actually in time. It's pretty cool. We can add the base was the base by hitting this crab button. Let's get rid of this from Pop, then at the base. Get rid of this trump up at this one thing about this one, that's kind of really, really, really, really basic. White views enabled him just drag clips in and play them kind of what you do, but you can also make the clips. You have a MIDI keyboard. You can also play in midi information and our instruments. So if you have a media cable plugged in, let's just choose this one here on a log, play some notes. I made a keyboard and I can play along with, say, this drum parts. I can't even recall these clips them. But you do have to make sure your midi keyboards set up, and you do have to have this little red light to record are met. And if we just hide this, you have more settings here as well. So we have the midi from So this is where you can choose your midi keyboard. The monitor so you can hear it back on nuts and monitor in monitor multi monitor off obviously went here. You can still see the MIDI information with these little yellow dots have audio to below this. So this is where the audio goes. Move your choose master, so it will go to the master channels. So when we play this audio, we'll get routed to this master track then below this, we have sends. So this is where we can actually send part of this to another channel so we can send it to a weaken. Send it to be so a Here's reverb so we can send it to a reverb unit. If we click weaken, bring up reverb on B is delay. So the more you pump it free the more you send it, the more it gets sent to this reverb. So I'm just gonna play this drum kit. The notice sounds a bit weird because it's got river on B. No signs of it. Strange because it's got the light on the left. Here we have these menus. Who can choose. Our favorites can choose sirens. We could choose drums, instruments or the effects. Many effects Max for life plug ins clips and samples were will be looking at these in a lot more detail. Future lectures feel free to skip forward to any lectures. So if you have used able to live nine before, you might want to skip through a few of these, begin the ones. But for your brand new to able to live, I definitely recommend watching these. Then we have this little thing here. Drop audio effects here so we can drop audio effects here. As it says, Andi, if we click down here the notice we can change to this view. So this view is the sample editor view on this view is where we can have the effects that we can have things like the midi effects on many channels on then audio effects on audio channels, the media channels. We can have audio effects, but on the audio effects, we cannot have any MIDI effects. Just what effects? Because the information is already there. It's already been processed. It's already audio, so we can't actually add on the MIDI effect With all these things here have stuff like tempo, Metrodome, bars, play recording. It's just a really simple overview. You can hide some certain things here, bring them back. I just want to make this lecture just for people who are brand new to able to live, so it's not scary as it initially looks. So this session view here, This is really where we putting clips on we play clips and then this part here is where weaken, change it into more of an arrangement changing tomb or of a structured song, copy and place clips into this arrangement view we're gonna look at recording in and also building a song in the arrangement view, and they're just it's kind of faded out. Have this little button here, which will bring it back so you can just play this drum part if we choose to in the arrangement view. I know some people like to work in the arrangement view. Some people like to work in the session view. I think it's a good idea learning how to use them by quick overview. Hope you realize able to live isn't a scary first thing, because when you first open that I remember the first time I opened up a person alive, I I was very confused for the first couple of weeks really on that for a while, you get used to it. You just have to realize the session view is a place where collect clips. You bring ideas forward on the arrangement views of placed normally where you will arrange it into more for sung. So the session view was originally created for life performance, really, so people could play these clips live and create more of a groove. People do actually was able to live now, just full actually recording and creating music. So thank you for it's just lecture just about getting started in ableto live 10. I hope you're starting to get the grips of how actually works and see each of these little clips that you can actually record to the arrangement view. So thank you for watching. I'll see you in the next lecture. 4. Part 1 - Getting Started: Hello. Welcome to this lecture. I'm going to show you how you can start creating a track in the session view. So I've just opened up a blank session with too many tracks here and two audio tracks in the session view as well. If you hit the top button, this will go to the arrangement view. However, in this lecture and the next few lectures were just going to be working in the session view so you could go back to the session viewed by hitting Tab or going over to these icons here . So I've already done an overview of able to live. However, I'm just going to quickly remind you off the interface in the session view. So here we have our tracks. Where are clips restored? We also have some mix of controls down here. If I just make some space in my session by hitting this arrow button in the bottom rights you can see here we have some more truck controls, such as our inputs on outputs. Over here on the left, we have our browser. Where are sirens? Instruments and samples are stored. So in the song I'm going to create, I'm just going to be using MIDI so to make some more space in this session, I'm just going to click on these audio tracks here on news backspace to delete these just to make a bit more space in the session. One thing to know. I've already set up my midi keyboard and it's plugged in. So if I press some notes on my media keyboard, you can see in the top right by this yellow flash that we get some information from my MIDI keyboard. It's also shown in all channels section here under Midi from, but as you notice we're not hearing anything. Midi is just no information on. We need a software instrument to convert this into audio. So to do so, click on investments in the browser and I'm going to slept analog instrument. So we have these drop down arrows here next to each instrument which will show the different types of presets I'm going to go down to pad here, ongoing slept blissful Pat, you'll notice here as well I have this headphone icon enabled, and when we click on one of these presets, it would give us a preview of what this sounds like I'm just going to click on this one thing to know. I have previously downloaded a lot of able to impact with many different presets. If you don't have as many presets is me and you want to get more presets, I do recommend heading over to my downloading packs lecture to find out how to download these packs from their able to websites. Just for this example you don't need to use the exact same presets is may I just want to show you how can quickly put the song together in this session view. However, as I like the sound off this preset, blissful pad, I'm going to drag and drop it over to the first MIDI track. As you can see here, this instrument has the period. We're not going to be using sound design. Now, I'm just going to start with presets just so you know how to get started creating this song in able to life as you'll notice when I drag and drop this instrument over to the media track, these dots here have actually changed these two lines. So when I play some notes on my midi keyboard now, it will not show the media information is actually going to show audio. Compare this to if I select the MIDI track number two clicking on this muddy track here and then clicking on the arm record button. And now I'm playing some notes on my MIDI keyboard. It will flash, but we can't hear anything because we need an instrument. You can just see the MIDI data being displayed on this meter. Okay? And I'm just going to click on this arrow down here in the bottom, right? You notice. Here we have the midi from on the monitor section. And just to explain how this works, I'm going to drag and drop another investment onto the second media channel. Let's just close analog presets here. This time I'm going to go onto collision. I'm going to choose another presets. I'm going to hit this arrow here to expand the presets on going to go down to simple keys this time. And I'm just going to audition a couple of these presets here. Okay? I like the sound of the 1st 1 so I'm just going to drag and drop this over to the second midi track. And now if I play some notes on my MIDI keyboard. Okay, I'm just going to make some more space. We can use the arrow button down here, or we can simply just drag this area down as you'll notice the truck that is armed is the track that you can hear Surfer click on Media Track one on placing notes on my midi cabled . The notice was still hearing track number two. You can also see this by the meter down here. So to monitor the first track, you will need to vomit down here. Now I'm going to play some notes on my keyboard. So as you can hear and see their this track, it's now active. So we have three different monitor. Moz, If I select off and play my midi keyboard now, you can see the MIDI information coming in here. We can't actually hear anything next. We have auto, which I just showed you. So basically also is going to monitor whatever track is armed. The last month interruption we have is in. So this is going to monitor any of the tracks regardless to weather is armed or not. So if I changed track to to monitor mode in even though this is no armed will be able to hear this back when I play some notes. My media keyboard, in fact, will be able to hear both of these instruments back at the same time because Track one is still armed and is in monitor auto mode, who also noticed this track activator icon down here has turned blue. But for simplicity. I'm going to change these back to auto generally, though, when recording and writing music will use auto. Okay, so now we're ready to stop playing some notes and I midi keyboard writing in some midi information. We're going to be looking at this in the next lecture. We start writing in our different parts. Thanks for watching, and I'll see you in the next one. 5. Part 2 Creating the Music: Hi there. And welcome to this lecture where we're going to continue building a sunk. So in this lecture match, you're going to show you how you can start recording in Midi. However, to make the recording a little easier, I'm going to go over some of the different things up here. So first of all, I'd like to set the Metrodome. So the Metrodome is this button here to enable it. Just click it and it will turn yellow. So if I hit space bar to play the session, you can hear the metro name. So this match name or click track is great for keeping in time when recording. So something else I'd like to do is add accountant. So I like to get a feel for the rhythm before I start playing. So if we hit this arrow button here next to the metro name, this allows us to actually create accountant. So for this song, I want accounting are four clicks, which is one bar. Okay, let's just play the metro back on small with space bar. And for the idea that I've got in my head, this tempo is a little bit too quick. So I'm just going to click on the tempo here and typing a new tempo off 110 beats per minutes and then hit Enter. And now when I press the space bar, the tempo is a little slower, more appropriate, for I want for the song in my head. So I'm going to record in somebody information with my medic keyboard. So to record, all we need to do is click on the arm recording button on our track down here and it'll be read when it's enabled. You also notice that is squares of turn two circles on each of these slots, which means they're ready to record. So, for example, if I arm record track, too, and notice the's have turned to circles on track. One has turned two squares, however, just going to go back to track one that I'm going to press circle on this top clip here, and it will record in the information that I play on my keyboard. It's also going to give me one bar counted one thing to know I already have my MIDI keyboard plugged in and set up on my computer. However, if you don't have a medic Ubell. Don't worry, as you can use able turns computer MIDI cable typing. So to enable this, make sure this middle cable button is highlighted. So this highlighted. We can play keys on our typing keyboard, which will correspond to musical keys. For example, A will be see, that's what a day on so on and so forth. Okay, so now I'm going to hit record on this clip by pressing the small circle button, and then I'm going to play the notes in with my MIDI keyboard on before record. I'm just going to open up the detail view so you can see the MIDI notes being entered as I play them. So let's hit the circle on record in the park. Okay, so you can see there that are notes appeared in the media Know Editor. You can also double click on the clip here to open up the midi Adisa. So you can see here this clip has appeared and this the same color as the track on to play this back. I compress play on the clip. Okay, great. She could hear everything I played, however, at the end of the loop, continued to play I wanted the loop to be eight bars long. This is, in fact, nine bars long. So to change this to the side length, we can just go down to these arrows here on. Just move these over to a bus. Now for. Play this back and make sure Lupus selected here. This will loop around after eight bars broke free press play. Now, if this will continue to look around until we pause the clip, Okay, Great. As you could see that it's now looping the A bus. So when this loop is active, this clip will continue to play until we actually press stop. And here I just press space bar to stop. Okay, Let's just have a quick look at the midi notes to make this a bit easier to see. I'm just going to expand the media know, editor, but clicking and dragging up here, so to zoom in or out, just hover the mouse up towards the top near the time my ruler and click and drag to zoom in the act. And as you can see, the zooms in on horizontally, you can also zoom in vertically by hovering the mouse over here next to the musical keyboard on this magnifying glass will appear and you can click and drag to zoom in a row as well. Vertically. Okay, great. I'm just going to click and drag this MIDI editor down so can see the session view again actually play these notes in an octave lower than that actually would have liked. So I'm just going to quickly move these up one active. So I'm actually going to select all of these notes by clicking and dragging over them with this point at all. Alternatively, I could just press command a to select all. And here I can click and drag these notes around. But an easier way to shift from a productive is to press shift on the up arrow. And now, if we listen back, it's knocked of up. Okay, great. So that's how you can start recording enmity in a Bolton live 10 on in the next lecture, going to show you how you can draw in Midi using the midi No editor. So thanks for watching. And I'll see you in the next one 6. Part 3 - Start Writing in MIDI: Hi there. And welcome to this lecture. We're going to continue adding to this track, but this time we're going to type in some notes in the midi. No editor. I'm also going to show you how you can play. It stops scenes in the session view and some more midi editing features. It's one the second track that we've created before. I want to add in a clip right here. So I'm just going to double click on this and this will open up the media editor. Okay, I'm just going to drag up the MIDI editor so you can see more of this. And you also noticed this is a one. Barley, actually want this new clip to be four bars long, So I'm just going to go over to these arrows on the right and just click and drag to make this four bars long. So I'm going to make sure there's finishes on the start bar five. So now we have a four bar loop is going to zoom out clicking and dragging up here so you can see the whole loop. I'm also going to zoom in vertically, clicking and dragging over here next to the notes. You also noticed this headphone icon is enabled. So when we draw in or edit notes in this MIDI editor, you'll be able to hear them back. Other note. Just double click you can see in here that's added a note. You can also drag the nopal down to change the pitch by simply clicking and dragging on the notes. You can also change his position by dragging it left or right. Okay, so what I'd like to do is actually change the length of this note. So I want this first note to be free bars long. So I'm just going to wait for this icon to appear and then drag this free bars long. Another way to draw in the notice to press be on your keyboard and this will bring up the pencil icon. You can go back to the Pointer icon by pressing B again. You can also go to the drawer mode in the top, right by pressing this pencil icon, which also switches between the point of mode on the draw mode. Okay, I just have a few more notes I'd like to draw in. Okay. Actually want this one? No, to be the entire Lupul lamps. I'm going to click drag this over four bus. And now I'm just going to draw in a few more notes. Okay? With this note here, I actually wants that to start a bar four driven in a little early. We can also click and drag from the left to change the start point of the note. Okay, I'm just going to turn off the point stool by press and be And I'm just going to play this clip back by press in the clip Launch button up here, Uh, and you'll notice this clip loops round around because we have loop selected over here. Okay, So because both east clips are in the same row, which is called a scene and able to life, we can play these both back at the same time. To do this, click on the play button on the scene on the right hand side. That's this button over here. And this will play both of these back at the same time. So as you could hear and see, they're both of the clips actually looped around. So you may have noticed there a clip. One was actually eight bars and length and clipped to was four bars in them. We know this as well by the 32 on the 16 down here. So this is how many beats every needs clip. It's important to note that when you press play in this scene, all of the clips will continue toe loop until you press stop. You can stop each individual clip with the stop button down here underneath the clip. Or you can stop all of the clips with this button down here on the right, which will stop all of the clips plank. Okay, So I'm going to end this lecture here the next lecture. We're going to continue adding to this track. Thanks for watching, and I'll see you in the next one. 7. Part 4 - Adding Drums with the Drum Rack: Hi there. And welcome to this lecture where we're going to add a drum part to this song. So, previously we created these two parts here on Let's just play them both together by activating the scene over here on the right. It may have noticed that the Metrodome was turned off and you can turn the metro name on a rough, like looking this button over here. Okay, Now we're actually going to add a shake apart. So to do so, we're going to use an instrument called the drum back. So I'm going to select instrument on the side, then go over to drum rack. But instead of using a preset, I'm just going to use the blank default drum rack on by default. This be empty. So I'm just going to drive it drum rack over the West says drop files on devices here. So the drum rackets sampler on din the sample that you can drag and drop different samples onto these different virtual pads and there's actually link up to your midi keyboards. So I'm going to press some keys on my MIDI keyboard now, and you can see them link up there to the different pads on the drum rack. So if you're Midi keyboard is set up correctly on the pads aren't lighting up. It could be playing in the wrong octave. So, Eva, change active on your media cabled or click on these grades here on the side to select a different active. Okay, so now we're actually going to drag a sample from able to life into one of these pats able to incomes of a number of different samples. If you don't have the exact same samples May don't worry. Just use one that's similar. I have downloaded many different packs, but just choose one that's similar. If you want to follow along, I'm going to go down to what sets samples here. And I'm going to type in shake dash free on the one I like the sound off. Is this one here? Shake dash shaker free. Just going to sample it here. Make sure the headphone icon is selected so you can listen to this back when you preview. Now we need to do is drag and drop this over to any drum pub that you desire. I'm going to choose this one here f sharp, but you can choose any one of these parts. And now, when I pressed f sharp on my keyboard, you can hear the shaker back. However, for this part, So it's perfectly in time. I'm actually going to type it in fire. The MIDI editor. So to do so going to head over to a blank slate here on the drum rack on double click on this. Okay. Now in the MIDI editor, I'm going to press be said the pencil tool appears on with this. We can actually drag across everywhere that with, like, a notes. So I'm just going to click and drag and notice. It's on every night here. We can just leave this as a one bar loop, as I just want the same thing going on over and over again. I'm going to leave this as a one bar loop. Okay, let's now launch a scene on here. The shaker of the over two parts. Okay, great. So that sounds fine to me, But one thing I might want to do is just adjust the volume off this track because the shaker sounds a little bit too loud, so we can just go over to the track for him. Slider here on Just turned down this shaker. Now that's here. It back. It should be a bit more suitable now in the mix. Okay, great. So now I'm going to actually create some more drum parts and add to the drum rack. This time, we're going to add a kick drum and the snare. At the moment, we can see this Midi Adisa here. However, we can go back to the drum rack by clicking on this device view selector down here in the bottom. Right. So now let's actually find a kick drum sample. Okay? So under samples again in this browser search, I'm going to typing kick. And remember, we can click on these tow audition them. You can use arrows to scroll through them. Okay, so I've scrolled through a few of these different kicks. This here is the one that I like, So I'm going to click and drag this over to the drum rack. This time I'm going to choose C one. You could also hit the small play button down here to audition this. Of course, we can solo or mu each individual sample in the drum right down here as Well, I do go over the drum rack and a lot more detail later on. So if you do want to learn how to use a drum rack in a lot more details on this than I do recommend checking out these drum at lectures where cover the drum rack and lows. More detail. But for now, just going to keep it simple. Okay? And while I'm here as well, I'm going to choose a snare sample that I like and after this against type in samedi information to trick of these samples. Okay, so in the browser, I'm just going to type in snare and then audition a few of these. Okay, So just grow for a few of these like this now, So I'm just going to click and drag this over to never available pattern on the dramatic. Like a sad to think that the play button to audition them here. But now we're going to go back over to the MIDI editor on type in some MIDI information, which will allow us to trigger the snare and also the kick. One thing to know if you want to change your samples at any time, you can just drag and drop new samples over your previous ones and that will replace. So I just show you now this sample below just going to drag on top of the previous sample and you can see there and here has changed. However, I prefer the previous one. So I'm just going to hit commands up to do this. Okay, so let's go back over to the MIDI editor for the drums. We can do so by clicking the clip view selector here and you'll notice in the MIDI editor here we have two new parts, which is a snare on the kick, and I'm just going to type in there. A very simple drumbeat begins. Have the kick on every beat on the snap on B two on before. Okay, let's now play the scene back, but going up to the arrow and that's not right. One thing to know is we don't have the best balance between the different drums here. So you notice on the drum back here? We actually have this small arrow on when we press this, it was separate different drum parts on two different tracks. So let's click best now, and here we can adjust the volume these different parts. The names are a little confusing at the moment. I'm going to click on these separate ones now and hit command Artery name. Now we have kick on the next one and click and rename this commander again. Or control R V on Windows. That's one snap on the 3rd 1 going to click on this had dropped here and hit commander unpacked Shaker. You also notice in the media at this down here, it's rename them here as well. Now I'm going to play this beat back again and just change the volume of thes drums slightly. Okay, so what I did there is actually turn up the overall volume off the drum rack. And then I turned down the shaker down this now because I wanted to kick to be a lot louder . So instead of increasing the kick here, I thought I just increase overall, William, and then I just from there. So sometimes it makes more sense to term parts down when getting a balance. Okay, so in this lecture with built a drum part in the session view, the next lecture, we're going to continue building this track 8. Part 5 - Adding Final Ideas: Hi there. And welcome to this lecture. We're going to quickly add a bass part, lead part and briefly have a look at velocity. So previously, the other two inch mints on the drum part. But now, just so we have a solid basis to the song, I'm going to add the bass part on the melody. Okay, let's now add the base parts. I'm going to use operator on them. Also going to use one of these presets. I'm going to hit this arrow button here, Going to go down to base on the one I want to use. Is this one here? Dirty sub Just going to click to audition this on? Just drive this over here. To what Says drop files and devices here. If you don't have this exact preset, don't worry. Just use any of a base preset for now. The whole point of this lecture in the previous few lectures, it's just teach you how to use the session beauty. You don't necessarily have to follow along exactly. Okay, so for this, we're going to type in the Midi notes again. Some going to go over to an empty clip here and just double click to open up the MIDI editor. So I'm just going to make this window is slightly larger on just a Zuma's. Well, so I'm just going to hit bay on, then type in the notes that I want to play on by default, The clip will be won by along. Just remember to move these arrows here If you want it longer for Mwamba for this clip, we're going to have it four bars long. Okay, I'm going to build this base part now. Oh Oh, and oh, Oh, and Okay, so I've just added in this base part here. If you have been following along, please feel free to pause right now. Copy these notes or alternatively, you can create your own base parts. Okay, so let's go up to this arrow up here on play the scene back way. One thing to know, as I've got a few more parts, the overall volume is a fair bit louder. So I'm just going to close this Midi editor window now and then adjust the volume off all of my tracks Just so the overall volume isn't too loud. Doesn't clip who also noticed Over here we have the peak level meter. You don't want this above zero db at the moment is over free. Db So everything is starting to clip. So we do need to turn everything down. Okay, So an easy way to turn multiple tracks down is to go on the track total bar and click on the first track and then go over to the last track that you like to adjust the volume for, Hold down, shift and click on the last one, and this will select all of your tracks and then go down to the track volume slider on Turn it down here and you can see that all of them are being adjusted. And I'm just going to reset the peak level meter by clicking on it. So when we play, But now we can see the peak level or the largest level. So the loudest point now is much quieter. Minus 3.95 db on our audio will no longer be distorting. Okay, I'm just going to de select all of these tracks now by just clicking on one of them. And now I'm going to add a melody part and this time I'm going to use the instrument collision. Sometimes click on collision. Expand the presets here. And this time I'm going to choose a mallet Sound on the one I want to use. Is this one here in which is Bells, one attack. So I'm just going to click and drag it to the right off the other instruments here. Okay? Again, I'm going to double click again on the first clip slot on the right and amidi part. Okay, great. So just typed in the part for the melody. If you're following along, feel free to pause the video here and copy this part. What? You can just create your own melody. Okay, so let's now hear this in the mix. Okay? Just one more thing to mention is you may or may not have this section down here open and you can open and close it with this arrow button here on. This is the velocity editor, and you can adjust the size of it by dragging up. So the velocity determines how hard or how loud than there is played. So you can go through here and there just the individual velocities for each. Now, if you wish, so you can do so by clicking and dragging on the lines here on the note that editing will be highlighted. The develop will lost you, though, when drawing those in is 100. So sometimes to make your music sound a bit more varied or human, you can change the velocity of each note slightly. However, for now, we're just going to leave it like this. Okay, so that's the basic building blocks off this track. Next, we're going to look arranging the clips in the session view to create more of a song. Thanks for watching, and I'll see you in the next one. 9. Part 6 - New Instruments + Parts Overview: Hi there. Welcome to this lecture. So since the last lecture have added a few more parts. So if you like to follow along with exactly what I'm doing, feel free to watch this lecture. Alternatively, if you've come up with your own ideas, you can skip this lecture and jump ahead to the next lecture where we're going to look out organizing and arranging your ableto live set. So the first thing you may notice is I've got lot more tracks. So I'm going to quickly now open up each track so you can see the instrument that I've added and also the MIDI information that typed in. So I've done this. So these videos don't become too repetitive and aren't too slow moving. So the first new part I've added Is this ref active? So let's just double click on this. I will open up the instrument. So this is the preset marimba tube right from the collision instrument. So let's have a look at the midi information that have drawn him for this clip. I'm gonna do so by clicking on the clip view selector down here. So this is a four bar loop, so feel free to pause the video and copy this information here, if you wish. So I've just soloed this track and then play it back now so you can hear this new part and you'll notice is one octave lower than the previous rift part. Okay, the next part is this based two part here just going to double click on this. And this is the preset presbury punch from the wave table instrument. So let's have a look at the media information. So this again is a four bar loops. Feel free to copy this again if you wish or create your own part. Just going to survive this and have a listen back to this now. Okay, Great. The next part we added, is this pad part. So let's have a look at this. So this is the dream. A preset from the analog instruments. One thing you'll notice is I have two different clips here, so I'm gonna show you the top one first. This again is four bolic again? You can copy this if you wish. On Here is the second clip. Just to add a bit variation. When we start arranging this song the next there's another Keys part which uses theoretic instrument of the preset down the piano. Let's have a look at this money information. This again is a four bar loop. So this is a more rhythmical part, which would give a feeling more movement in the song. So it's the same river just repeated over the four bars, and I'll just play this back quickly. Okay, so that's all the new parts we've added in the next lecture. We're going to look at how you can organize your project in the similar manner. Thanks for watching. 10. Part 7 - Final Set Organization Tips: hi there. And welcome to this lecture where we're going to look at a few things you can do to organize your set in the session View says a few things you can do that will only take a moment. And it will make it a lot easier to navigate around your song when you're creating music. So you may have noticed that the top here I've renamed some of my tracks. So by default, your MIDI tracks will automatically be given the name. So to make it easier to understand your set, you can simply click on your track. Oppress commander artery name or control R on windows. So, for example, this pad to part here, which is called Dreamer, I'm going to rename this. I'm going to click on this track hit commander and type in pad to and then hit Enter, and now it's called Part two. I'm going to quickly do the same for this track here, Comtech Commander and call this keys ribbon at her enter and now quickly can see the different instruments. So I like to give my parts a slightly descriptive name. To make things a bit easier, you'll notice as well that all of my tracks clearly visible in this session window. So all they did was click and drag on each of these tracks to resize them so that all visible in this window. So I did the same with the sense here as well, which I'm not using at the moment, so I just made them smaller. We also change the size off the master track over here just again to create bit more space for my parts. You can also adjust the size of your browser, but clicking on dragging on the side or even hide it with the arrow up here in the top left . So something else that I've done is color the tracks to do so. Just right. Click on the track on here, you can choose a color, and I've also done the same of my clips. So the matching the track color. So when you're building your session up, you may want to add multiple clips to the same track. So here I have two different parts on this part, too. I've killed a similar color, so I know quickly is from Part two, but just slightly different. So I know it's a different part. You can also rename the clips by right clicking and going down to rename or using the shortcut command are so I'm just going to call this idea too now can quickly and easily see that different clips in the same track. Something else you may wish to do is reorder your tracks in the session view. So, for example, I might want certain types of instruments next to each other. So I'm going to put the drums and bass over to the left, just going to click and drag these two left. So we need to do is click on the track total while and then drag over. So the same with the base same of base to I'm going to have my Kordell parts next to each other. Some guys drag pads to over here, and then also, I'm going to drive keys, rhythm over here and then on the right. I have my more melodic parts. You may have noticed as well that some of the volumes have been turned down. That's because I've added more parts and it was more likely to clip. So I've just gone through and turned everything down and made a quick mix. Okay, so now I set is a lot more organized. The next lecture we're going to look at ranging in the session view. 11. Part 8 - Introduction to Session View Arrangement: Hi there. Welcome to this lecture. We're going to arrange these ideas into more of a song. So previously I added these different clips. But now we want to create more of an arrangement once great more than movements actually create song rather than just having a few different ideas. Luckily in the session view and able to live, it's super simple to do this. So before I start arranging my song, I like to make sure my session is reasonably well organized. And as you can see here, it's all clearly labelled and colored. Okay, so now I'm just going to play back to the first scene. Hi. Okay, great. So from listen to that, I like to build up the track, starting with just the main pat. So if you want to move one of these clips we need to do, it's just simply drag it and drop it. And if you want to make multiple scenes, you can do so. But holding down shift surfer, click on the first seen on the left on the last clip on the right. Now all of these clips in the scene is selected, and I can click to move these down. So I never waited for that. Multiple clips is to hold down command on that or control or windows. So select one and then move over to another clip you like to select on hold on, command on Mac or control on Windows. Now, we've just let to these two, so I'm just gonna drag them down for this example. Okay? And now want to move these free clips? So I'm going to select the first, Let that I like, and then I'm going to hold down command to click on these over to and then let go of command and drag them to where you like. So for this example, I'm just going to move them down, out of the way for now. As I said before, I just want to start the song off of just the main pat. Okay, Now want to copy this to do so or Dan, cult or option and click and drag this up on this plus sign will appear next to the mouse, which means it's going to be copied, not just moved. So now we still have the original one down here, and I'm just going to copy this again. So after the first rotation of these cords, I want the keys lead to enter. So I'm going to hold down Ulta option and click and drag this up. Now Seen one has just a pad and seen too, has the pad on the keys lead. Okay, so for the 1st 8 bars, we're gonna have the bad. Then after this, I'm going to select. Seem to on the keys. Leads part, will enter with the pat. Let's just play this now. - Okay ? So I just pressed the stop or clips button. And now we're going to continue arranging this track. Okay, so after this, I want some drums to enter, but I don't want a full drum kit. I just want the shaker. So what I'm going to do is Juvic eight, this drum clip again by holding option or halt and then dragging this above. Now I'm going to open up the media information by double clicking on the clip. And now I'm going to select all of the snares on all of the kicks on Delete these to do so I'm going to click on the corresponding note which selects all the kicks here on hit backspace or delete on same a snap, and now it's just going to play the Shaker. But now, as this is different clip, I'm going to color this differently. I'm going to right click on the clip and choose slightly different color. And they're also going to rename this so I don't get confused later. Run. So right click and go rename or commander Just going to call this shaker. So now if I open up the clip below, you can see this is the shaker with a kick and it's now on a clip above is just the shaker . So now I'm just going to adjudicate this pad again. So it continues on same of the keys. So now when the play scene free is going to play the part, the keys lead on the shaker. Okay, After this, I want all of the drums to enter Onda along with the main pad on the keys lead. So I just showed you before we can move all of the clips down. But there's a quick way to watch to do this, and that is inserting a new scene. So simply click on the scene and press command I on this will insert a new scene below this . Alternatively, you can right click and go down to insert scene. So now we have a blank seen below the one we have selected. One thing you may notice. This scene is now renamed number nine because it's 1/9 scene that has been created. We can always go through and rename our scenes, but I'm not going to do that just yet. Okay, before a copy of the full drums part, I'm just going to rename this and call it full kit. And I'm going to copy up most against Copy the pads down on the keys lead. Now we have one scene of just the pads. The next scene has the pads and the keys. After this, we have the pads, the keys and the shaker. And then after this, we have the pads, the keys on the full drum kit. So we're starting to build up their song and create more often arrangement. Also, when the four drums enter, I want to add the ref and also the ref octave. So I'm just going to copy these two oppa's well, I'm going to change the global launch quantity ization from one bar to four bus. Tell me, Flick up here and change this 24 bus. So this will just make it easier to play the different parts back. I'll keep everything in time and make sure that enter the right point. Okay, so I'm going to go over to the first scene, which is going to be eight bars long in The rest of them will be four bars long. Okay, let's just go over to the scenes on play these back. We also launched the scene below this as well, which added the basin. So I'm working with scenes. It's important to set a global launch quant ization to an appropriate amount. For example, I never really have this on none unless you're trying to do some live creative launching and you're confident that you'll be able to play them exactly at the right side. So I'd normally live on four bus or maybe even one bar. So I'm just going to put this on none. And I show you what happens if you don't use global launch quant ization. So I'm just going to play this scene here, which is number nine, um launched, seen below at some point for at the playback, as you could hear that it didn't trigger in time. And that could be quite messy. So I do recommend setting a global launch quant ization amount. So if I change this toe one bar, for example, after make sure I trigger the next scene within one bar of when I'd like that seems to change. So as you could hear that it's still in time. But I didn't play the scene back at the right point of the core progression. So just for ease, I'm going to change this to four bus. Okay, So offscreen. Now, just to save time again, to continue arranging these ideas into a bit more of a song and in the next lecture, going to look at recording toothy arrangement view. So I hope you find this lecture useful and I'll see you in the next one 12. Part 9 - More Session View Arrangement Tips: Hi there. And welcome to this lecture. I'm going to go over a few changes that I've made on give you some more tips on how to use this session view in able to life. But quickly, I'm just going to show you a few things that I changed in the session view since the last lecture. So the first thing you may notice is we have some more scenes, which means the song was going to be a bit long. So just a quick reminder we need to do is right. Click and then go down to insert scene. And if you want to delete one simply right, click and hit delete. The never main difference is of split the drums up into a number of different clips. So, for example, here we have just the shaker here I have kick on the shaker. So here I have a full kit with added in close high hat on a ride Cymbal and to some of her parts of dropped down to just the kick drum. One other thing to mention is I just did the velocity of the shaker slightly to make it sound a bit more human because before it was sounding a bit too rigid. So it's opening the velocity lane. Just click on the small arrow here. You can then draw in different velocities, so went through and labeled these drum clips accordingly. So it's been easier to understand what's going on in the song Over here on the Rebels on a ref Active, you may notice, it says first half and have changed the color. This is because I'm just using the first half of the original idea on enables in life. This is really simple to do so. To do this, I just simply adjusted the loop race on Dilute Market. So it was here at four bars, and I've just tracked it back to become a two bar loop. So for this section, just the first half is going toe loop it round around. As for this section, simply don't want to hear these last few notes. Another thing I did, it's just spend some time and just listen through and try and create a bit of a song trying correct bit of arrangement and movement. So this may take a bit of time, so recommend going through and experimenting and listening to your different clips in different orders. One of the thing to notice. In able to life. We don't have to launch just the scene that we can go through, actually on launch individual clips. So, for example, here I could launch seem free but could also click of eclipse just to try some new ideas. - So as you can hear there, you can trigger different clips to try and find a new structure. One thing to note, though, is you can only have one clip playing on each track any one time. So, for example, if I trigger this kick clip once I trigger a new clip in the drums at the end of the defined quantum ization length Bridge is four bars. At the moment, it will move on to the next clips I select. It's not going to play both back at the same time. You can also see which clip is going to be playing next by the flashing play icon. Okay, so that's just a few more tips on how to structure your song. The next lecture we're going to record from the session view into the arrangement view. Thanks for watching 13. Part 10 - Recording into the Arrangement View: Hi there. Welcome to this lecture where we're going to record our ideas from the session view into the arrangement view. So now we've arranged this song in the session view. However, we do want to record this into the arrangement views of a hit tab. This will bring up the arrangement view. So in this view, this is really where we can make more changes to the arrangement and mixed the song. So once recorded into the arrangement view, you can always go through and make more changes. So if your song isn't quite how you like to end the session view and you recorded it into the arrangement view, don't worry. You can make more changes here. But first we have to record from the session view to the arrangement view, of course, unable to live, you can make music in the arrangement view in the last few lectures have showed you how to make music in the session view. But as the session view so powerful ableto live, I do find this is a great way to come up with ideas. After all, this session views what makes Abels on life unique to ever be a W's So before we record into the session view, I'm going to make sure the arrangement starts on bar one. As you can see in the arrangement view, we're starting towards the end of bar six. But I want to record and by one. So I'm just going toe drag this arrangement position to buy one. Now, let's go back to the session view on the always do is press record, and then we're going to trigger our different scenes. One thing to know is you can change the position from both windows and another thing to know that you don't have to just trigger the scenes. You can trigger individual clips. But I have laid out this session view in a way that we can just go through eat scenes, which just makes it easier to work with a lot more organized. Okay, so now we're ready to record into the arrangement view some going to hit record and then trigger each individual scene. - Okay , Now I'm going to press the stop button, and if we hit top, you can see here in the arrangement you recorded this. So now if you press this button up here, which is the back to arrangement view, but, um, it will swap over to the arrangement, view how we can play it back from here, just going to change their launch amount to none and skip through just so we can hear what recorded. Now we can go into this arrangement view and start editing. As you can see, as we labeled colored everything in the session view. Our arrangement is nice and organized. So I found this lecture useful and I'll see you in the next one. 14. Editions Comparison for Ableton Live 10: hi there. And welcome to this video where I'm going to quickly compare the different able to live 10 additions. This course is for able to live. 10. Sweet. However, a lot of the things are go free will still be applicable for able to live. 10 Intro on standard, but some of the different instruments and effects will only be available in ableto live 10 Sweet. So if you have able to live 10 sweet, that's ideal, but you can still follow along with a lot of this course with ableto live 10 standard or intro. So for the lectures that are only available for able to live 10. Standard or sweet, I've put this in brackets in the lecture title as well, so you can know which lectures are only available for ableto live 10. Standard or sweet. There is this website from Mableton, which compares the free different versions so you can head over to able to dot com, click on live and then go down to compare additions to find this page. So the key features are available for all versions off able to life, which includes media recording on audio recording, Max for live. However, is only available for ableto live 10 sweet. So if you're not using able to live 10 Sweet, the max for live sections in this course will not be applicable. Many off the software investments as well are only available for ableto live 10 Sweet. There are still a few, such as a drum rack impulse and simpler, which are available for all free versions off a Bolton Live 10. You also notice on the side. Here we have thes dots on crosses, so if there's across, it means it's not available for this version. So this one here is intro. Then we have standard, and then we have sweet. A lot of the packs as well are only available for able to live 10 sweets. So bear that in mind as well. If you're not using ableto live 10 sweet, many of the audio effects as well are only available for sweet, but many of them are available for able to live standard as well, and some of them are available for all three versions are able to live 10. The essential MIDI effects, however, are available for all versions of Abel's in life, such as arpeggio data on scale. So just be aware. If you're using ableto live 10 intro or standard that you may not be able to follow along off all of the different instruments and effects and features in this course, however, you still will be able to follow along with a lot of this course. And if you have a Belson live 10 sweet, you'll be able to follow along with all of this course. Remember, you can always head over to the Compare Additions page, which you can access via the able to incite. So thanks for watching on. I'll see you in the next lecture. 15. Editing in the Arrangement View: hi and welcome to this lecture. Where we're going to be looking are editing in the arrangement view. So I just made this little groove in the session view, and then I actually recorded this into the arrangement view by just playing for the clips and hitting the record button now is in the arrangement view. Let's just have a quick listen to this and then we're going to get through on at it. In the arrangement view, it's just really a simple grieve. And then I have a few variations of the drum kit and a variation of the baseline on that. I had this synthesizer part That's kind of the grave. Just a really simple pattern I made quickly for this tutorial. Okay, so the first thing we could do is actually create a bit of space. So when the kick drum plays, it doesn't get to muddy the lower frequencies Don't get too muddy. So one thing we can do is create a bit space. So when the kick drum is playing, the bass line will die down a little bit. We can do this with side chain compression. If you want to know more about side chain compression. I recommend checking at a lecture on side train compression, but the good thing is you can add on effects in the arrangement view, not just in the session view. So if we go over to this arrow and go todo effects, let's go to compressor on. We could drive this on to say the bass part. Then you can just add side chain input from drum rack and then choose kick. Wait a bit more space in the mix. That's one little tip you can dio. OK, and now let's have a look at adding some automation. So when the best things about able to life is this automation setting in the arrangement view, so all you need to do is click on what you want to automate. I'm going to choose this filter frequency cut off in this based synth. So click on this, make sure this automation button is armed up here, and then it just appears so. The last thing you clicked on will actually appear in the automation. I clicked residents, and you can see up here it changed to residents, So let's choose filter frequency and you just draw in parts here to click and drag up some disconcert. Increase the filter frequency here and let's click on resonance. And here I'm going to actually increase the resonance like so. Okay, let's hear this part. Now go back to frequency. Whatever's Red is the one that has automation as well. Back to residents might be a little bit too dramatic, but it is really interesting just clicking down here. The ones that are read, the ones that have automation. Let's just drag it down a little bit, okay? And let's say you want to just automate the volume, keep it nice and simple. Click on volume here and then just gradually fade the volume down. Now let's hear this. You should hear fade in the volume off the base in part could also do the same of sense 71 to actually add some reverb, we can automate this as well. So I just flipped on this button here, which is descends where we have the return track, a return chap Bray so we can send to return check a and return trip be. But I only want to actually read about the end, so I'm just going toe automate some river for this base part as well. Let's hear this back so the volume should go down. So if you look the master volume off the sense and then you go mixer, the reverb will increase. So we'll increase this river. Well, we'll send the track to the reverb Units on will also decrease the volumes. Let's hear this bit. Could a similar kind of thing with, If synthesizer, that's just click on here So this will send to return track a. Just this one here, which has a revive units. So honest is click on this and then just Adams reverb here as well. Increase. Let's do a similar kind of thing. That's to go on. Let's click on this track on Go on volume. I'm just going to automate the volume down a little bit. Let's hear this So this ref fear their SIM parts the lead part. It should increase in Riva and decreasing void. Okay, you could add a fade as well, for the drums. Just gradually fade it down, so there's loads of things we can do in the arrangement view. It just makes it really interesting to write. Music in the session view were called into the arrangement view and then go through, find, tweak and tune and automate parts in the arrangement view Like I said, You can Ago. But this window here and you can add audio effects in the arrangement view is the same as the session view. So don't just always rely on a session for the arrangement. Views very useful, especially for mixing, arranging, tweaking and editing your audio annual midi in ableto lifetime that's taken ultimate. And that's how you can edit using the arrangement view. So thank you for watching and I'll see you in the next lecture. 16. MIDI Editor Recap: Okay, now we're going to have a look at the MIDI editor, So let's first of all, create a MIDI clip. So in our Midian treatment here, I just drive in analog presets and then only to do it's just double click on this blank slots on this will open up with the MIDI editor. You can resize the MIDI editor by dragging up, and we can actually go back to the device view by clicking the button here. Or we can use the key commands shift on top. And that will toggle between the media editor on the device for you. So we have a few different things going on here in the MIDI Editor we have the Barnum is at the top and then to the left, we have the piano roll, so we have the notes of the piano. If you like to hear some of these notes as you click them, make sure you have this little headphone icon enabled. Let's just draw in some notes now to do this, we need toe, activate the pencil tal. You can hit the pencil tool button up here, or we can just press be on our keyboard on that will bring up the pencil tool. So I'm just going to type in a few nights. Can you notice down here that we have some velocity? So it goes from 1 to 1 to 7127 is maximum velocity on one is minimum velocity. Zero will be off or no velocity so we can edit Ah, velocity of the pencil tool. Or we can hit be again. I mean, could just drag down velocity off these insurance, but this little circle on the end of this line, we can also zoom in or zoom out by scrolling up to the top. Here you'll notice there's a magnifying glass so you can click and dragged down to zoom in or click and drag up to zoom out. You can also use the buttons plus on nine s on your keyboard to zoom in or zoom out. We can also click on the notes on drag them around. We can change the lamp, weaken, slept them all by hitting command a drive from all around. We can drag them up or down an octave by hit and shift on up arrow for a productive or shift on and down for down octave. This allows us to quickly change octaves off our notes in the top left that we have the fold button on what this will do. It will only actually display the notes that we are using. This is most useful for drums. For example, if you're using a drum kit and you just have, say, kick snare ah, high hats on crash symbol. You don't really want all the notes of the piano roll because that can get a bit confusing . He would just really want the notes that you are using. However, if you're playing um, or harmonic investment like a piano, you probably will want Fold de selected, and you will want to see all of the next. If you're on a Mac, you can use the key command, command and ult, and this will create this hand icon, which allows you to scroll up quickly. If you're on a PC, it will be controlling okay. If you evil curse upwards, you'll notice that Speaker sign will appear so when you click night, obviously space barter bores and space bar to play the clip as well, going back to the pencil tool. Every draw in a note or several notes, you'll notice it will snap to the grid. You can do this by hitting command and said as well, so we can change the grid amount. If we right click the notice, we can go down to fix grid. At the moment it's set toe 1/16. Notes. We can change it to adaptive grid, so adaptive grid will give us more lines As we zoom in. Let's try adaptive grid. Now you'll notice it's a lot less lines, but as we zoom in, more lines will actually appear. Uh huh, Uh huh. As we zoom out your notice, it's a lot tighter than it was before. So if you want to make some really intricate parts, aren't necessarily set to the beat division. Adaptive grid can be very useful. We can change it back to fix grid by right clicking and going back to fix grid. We consume out again with this magnifying glass. Then we have the leak markers up here. The top one is the loot on the bottom. One is the start points and on the right is the endpoints, so we could have the loop starting here. That's a leap could just be this part here. So let's just play this lute. Now you're notice when I play it, you'll start here, lip around this section, so that's basically the MIDI editor. It's a quick overview of how you can start to edit your own media information in ableto live 10. So thank you for watching the hope the furnace useful and I'll see you in the next lecture . 17. Recording Audio: Hi and welcome to this lecture where we're going to look at setting up a microphone on recording audio. So do you recommend using headphones if you can't to record audio on, It's actually quite straightforward, unable to life. So in this session view, you have audio tracks up here to create a new audio track. You can use the key command, Command, T or ah, go over to create and set audio track on the PC. It will be controlled, and there will be some audio tracks. You do get two audio tracks as the defaults, and if you click on here, you'll notice we get alot these settings So we have audio from audio to Fanara. Let's leave audio to to master so this truck will get sent over to the master track on audio. From you will have to select your audio interface and your microphone, so if you have an audio interface, you conflict. If you don't have an audio interface, you can use the built in mic on your computer. But that's not generally very good. So do you recommend getting the microphone an audio interface? What type of microphone you want really does depend on what you want to record. But for now, let's just select on here and let's choose external end. You can see here. I've got microphone coming fruit on. This is just on one channel, so I'm going to select one. If you don't have your microphone coming through here, you will have to go into the preferences. So go on to live the top left, go down to preferences and then go on audio and he will have the input device, which is my audio interface, which is called sure digital on the output device. I'm using the built in output. You don't have to use the same output as input, and here you can see this gray line appear. So when I'm make sound into the microphone, you can see it's appearing this great line. If we have monitored in, then we will hear this. It's actually a separate microphone to the one speaking in, though, So if I talk in this microphone here, you can hear obviously the audio and you can see it's with this green line here. I recommend just having it on auto, and then we can record in some audio in a session view is really straightforward or we need to do is hit this little circle here. I make sure the track is armed by selecting this button hit down here So it gets changed to read a de recommend having the match in Oman if you want to record in time. So just let this Metro name but not here. Then all we need to do is just select one of these little circles. I've got a small shaker, so I'm just going to record in a shaker, hit the stop button because then just going to take the first bar of this so I can just drive this back to here and then when they play this back, gonna leave around the right. Okay, later on, we will look at actually warping this audio, so making this going time kind of quanta izing the audio so it's actually in time on. It's really straightforward to do in the arrangement view as well owners do is hit the top button or hit this button up here to go to the arrangement view. It's very similar or we need to do is just make sure external in is selected here and then choose input. It depends on what input you're plugged into on your audio interface. I'm going to select one for monitor. I'm going to have on Auto. If you don't want to hear this back, he could have gone off on the audio. I want this to get sent to the master. So hit Master, make sure this red dot is selected here and then just select on hit record. I've got to bar countin I'm recording some audio. Okay, We can see the audio here who played back waken here. The audio. Same kind of thing. We can drag the lamp. We can change it around here, but we will look at warping in the later lectures. That's basically a quick way of recording audio. Unable to life. You want to go back to the session view, just hit tub. Then we can hear this here. We can also go over to the arrangement view. Hit this little triangle bottom over here. This will play the audio from the arrangement view. So that's how you can record audio in able to live. And that's how you can set up a microphone. So thank you for watching. And I'll see you in the next lecture 18. Warping Audio: Okay, Now let's have a look at warping the audio. So warping really allows us to put this audio in time. So when you're playing in the audio, we're not always going to play it in perfectly the recording say jazz music. Maybe you might want a bit swing. You might want some human elements to its, but for a lot of electronic music, you might really want it. What? And you might really want it perfectly in time. So always do is click on our audio track a little clip here and then we can zoom in with this magnifying glass Here. Onda, we can Lubitz by hitting this link button. So the loop around around and we have the start point of the loop the end point of the loop and above Here we have the loop, Marcus. So first thing these do is make sure warp is selected. If warp isn't selected who just have a clip like this with no dots or anything above or below. Just a timescale. If we select what you'll notice we have these little dots here so it can actually do is we can go in and drag these around and move the audio so it preserves. If we double click, it will create these little yellow dots, and this will preserve the audio. So, for move this one around, you'll notice before and after is not affected, depending on how well who actually played. This part in is how close it will be, too. The bars are to the beats. So let's just direct the center. I was playing 16th notes. So let's just fix this on. Just click in and try and make this perfectly in time. So I believe it was just like this. So it's quite simple pattern. And so, for example, there I wanted to walk from here. I'll just double click on move. This mark, able to in generally does a pretty good job, but sometimes it's not always correct. So just double click and move it in place. And that's the best way. Really, Teoh Warp in. I think that's right. Let's have a listen that play it back and should loop around around. Make sure Lupus selected were double time thing going on there, so I didn't quite get that right. Could even go in and correct that. But for now, for this example, I'm just going to use this first section. So they were going for a leave it sometime. If about the Metro Mommy can check, always go in and correct a few more things as well. I don't really like that. 1st 1 is cut off if you look so we could start from a different loop point so you could start from, say, here It always direct this 1st 1 forward. Better shuffle going So it's not completely in time. So I'm just going to shuffle this be around so it's not bang on the bait, which could be interesting. But you do have to go in and correct it. Really. It can take a bit of time, but that's really how you can walk. You can do it manually by dragging around. Say, I wanted to start from here. I don't want the rest of this. I just want this to start from right click and go and set 1.1 point one from here. And that sets one from that. You can also right click and crop sample. This will corrupt the rest of the sample. So I've just got this little section there. We have the segment BPM. So this will allow the little segment so it can drag it around like this. Then we can double time at all. Half time it with these here. So you noticed this will go a lot faster, or you can have time it even slower so you can get some interesting sounds here. So below this as well. We have the warp types who have beats. So if you've got to beat like this with a lot of transients, a de recommend news and beats, then you have tones. If you have a different type of sound, probably not for drums. Texture, re pitch complex and complex, pro complex and complex Pro will be the most accurate ones, but they will use up the most CPU. I do recommend going through all of these on having a listen. You can really hear the difference when you slow it down to Let's slow this right down Thistles. Texture tones so tones will try and preserve. The tone is a bit more re pitch ritual. Obviously a slow the pitch down like a record because they've ones will actually preserve the pitch. The re pitch will play its more natural pitch we got complex try complex and then we've got complex Pray we have a few more controls. Complex pride. We can choose the four months or so the envelope So we walked Mobile can really create some unique sounds. Wouldn't normally think of that little shaker has been turned into something a lot more experimental Now special at the end. We could even just loop the end if we wanted to. Of course, we could also transpose this with a transpose button. So this has actually turned into, in effect, more than a drum shaker. Now you can change the volume here of the decibels, the tune, every wish. Then there's a few more options in the clip, so you can't go in on change some of the envelopes. So this is avoid Member like the clip weaken slept transposition modulation, grain size A few of the ones if you just want to get started. Warping recommends having a look at this warp feature because it can allow you to create some really interesting sounds. We have trigger married as well, but this is more for life performance, which will be looking at later on. But for now, If you want to walk for D A jump in, double click on the audio Move these little orange parts around And then ah, yeah, experiments and just try and get it in time So thank you for watching this lecture. Just about warping in ableto life 10. 19. Main Preferences: hi. In this lecture, we're going to look at the main preferences in able to live. 10. Thes the preferences to get open Ronan and start making music. So it's good to preferences. You click our life and then go on preferences for a PC. I believe it's under options, and here we have a few different settings on the side here. So look, feel here. We can choose our language, and here we consume the display in I currently have the display zoomed in. You could have a zoom this outs on. It will fit to size as well, so I like to have 150 purse personally. That's just me, though, because I do create lectures, so it is easier if it zoomed in a bit more. Okay, going down. We do have theme so we can choose different themes. Have lights dark live nine. The default is made light, but go through and choose the ones I quite like dark. But it really doesn't matter too much. Just depends on what used to when we have the bright nurse, if one to make it bright or not, Double click to go back to the default color intensity. He was well, so we can change it of the here can get a little too Yeah, but too much. So I'm just going toe. Bring it back to the default. Okay, going down. We have audio. So the default for Max is the core audio. And here we have input devices. So for audio inputs. So this is for your audio interface. If you want to record any audio such as a microphone or say a guitar, then if you click on s, your audio interface should appear here. Minds of scarlet to I t on the same without puts. You could have it appear here as well. If you just making music with many or just on your laptop with no microphones, you don't actually the audio interface to do this, you can select, built in input on built in output. And then we have sample rates 44 5 100 or 48,000 both. Fine. Then we have buffer size. The lower you go, the less latent. See, we might get if your computer is struggling, maybe increase your buffer size, but the default one is absolutely fine. Then have test time. This is just a test. Your speakers are working, really? And outputs working. You can change the tone, even change the volume. Okay. And going along, we have a link midi. So if you have ah midi device amid a keyboard or say a midi controller like a push to it will appear here the moment I've just got my media cable plugged in, Which is this Oxygen 25 and here we have track on remote turned on the track. Basically means we can play notes on the keyboard on remote. Means you can actually sink this to certain devices or knobs enables on life. So, for example, you want to midi map something to another on your controller or a dialogue. Make sure remote is also turned on. Now, though we don't need output turned on. You can leave this on off if you control it does not appear automatically down here, which normally will. You can find it in this drop down box here where it has most of the compatible controllers , but used in able to life. Okay, going down. We have file folder. So he employed in sources. This is where you can re scan your plug ins. So if you have any external plug ins, say, for example, and external keyboards or any plug ins by companies such as waves or Native Instruments or anyone like that that have third party synthesizers or plug ins, you can re scan them here. These are plug ins, though, that are not included in able to life there from over manufacturers. A lot of the time they are paid Logan's as well, and if you are using a Mac, you will get audio units of using a PC BV ST's. But Mac actually does allow you to half V ST's on a use or units as well. Okay, going down. We have a library. I would really worry about this too much. Then we have record warp. Second, choose a file type so it could have a I F. F or wife. Eva's absolutely fine bit. Depth 24 is fine. Countin I do like to have two bars of counting or eight clicks. So when you record, you've got a bit of time to prepare yourself ready to play. Okay, going down. We have walked modes of confusion default walk mode. There is a lecture about warping in this tutorial, Siri's. So if you do want to learn more about warping, make sure you have a look at that lecture. Bates is fine, and this one's quite important. Crake fades on clip edges, so this is basically to stop the pop sounds at the end of clips, it will create cross fades. So just get rid of some of the popping sounds we have launched Married as well down here. I wouldn't worry about this too much. If you're brand new to able to life and then going down, we have licenses where you can have a look at your able to license. So this is just a quick run, few of the preferences because I know sometimes when you open up a digital audio workstation when you're brand new to, but you don't want to go through all the preferences, you just want to jump in and start making music straight away. So I thought I'd give you a quick run down so you can go in and just set this up as soon as possible so you can start making music I'd give you never run through. So you have luck feel you have zoomed display you can have the theme Audio. This is where you set up your audio interface. Have your sample rate annual buffer size, then link Midi. This is where you can set up your external MIDI controllers or many devices. File folder. This is where you can scan for your audio units or V S T. Is your third party plug ins or synthesizers? Library wouldn't worry about that too much right now. What mode? You can choose your file type on and your walk mode, and that's basically it. So I hope you find this lit. So I hope you found this letter useful just so you can just understand the preferences quickly go in and start making music. 20. Downloading Packs: Hello and welcome to this lecture. We're going to be talking about packs. So in ableto live, we have a lot of different packs available to us. So if you go to the clip mode here and there a test we've caught a lot of different clips on samples have also got a lot of different samples. These are not all included with ableto live. However, you will have to download these and not all of them are free. I have been using able to life a while. I'm have built up a collection of packs. You don't need them, although you can make some great music without all of these packs. But if you do on the follow along and use the exact same packs I use you can use is by going to the able to the site and then just click arm packs. So here there's a lot of different packs. Is 189 different ones. I don't have all of these, but I do have quite a few to access the packs. You have to go on user select jewel user accounts and then go down to music and then go down to a Bolton, then go down to factory packs. So this is where the packs have kept. If you download these, and there is another way to view your packs as well, if you're not using a Mac using a PCR, recommend using this way of finding your pack. So go up to live in the top left Goto preferences and then go to a library. And here it says that location of user library on its exact location. I just said user Thomas George Music able to use the library. It might be slightly different if it's on the PC, but you can click on this bride's button on this will actually allow you to choose a directory for your user library. On Below. It says Installation folder for packs and here, same again. You can choose the installation directory for factory packs, so this is where the packs are. You can changes to a different location if you wish on. Remember, just go to the able to incite to download the packs like a said. Not all of these packs are free. Some of them may cost a bit of money. It really depends on how seriously you want to take this if you want to produce full time. If you want to take me to production seriously, I do recommend paying for a few of the packs, but maybe just start off with the free ones. There is a section here free. I really just go down and down and all the packs I recommend. You can get some great stuff here. But however, like I said, you might have to pay for some of these. You can get software investments as well, but some of them, like the wave table sense, is included in life sweet and of ones like the sample of the operator amp you can just download. That's basically it. That's how you can access the Pakis. You can also choose it by genre civic. Click on all genre instruments you could choose, say, Dub Step. And then there's loads of different ones here. I don't have all of these. I've got a few of them. And if you do want to use the exact same packs I've got, just have a look at the PdF download that is included with this lecture. And here will be all of the packs that I'll be use them. Like I said, I do actually have quite a few. These are some of the packs here. Yeah, if you want Teoh, get the exact same ones I recommend Just download or just have a look at the pdf that's included with this lecture. And then you can use the exact same practices May if you wish. Some of them they're like a said aren't free. For example, orchestral brass. If we just type this into the pack such so if you go on or I have just opened this in the incognito window and you notice the breasts is actually 100 and 29 euros, So yeah, some of them aren't that cheap, really. However, it can be useful, but it really depends on how serious you want to take this. You can follow along with all of these lectures without having the exact same packs. I just pick some of them by random a lot of the time. Andi, I've got so many packs that ideo lose track of which ones are free and which ones are paid . However, don't worry if you don't have the paid packs because you can still make a fantastic music with just the free ones. So thank you. Watch this lecture just about accessing the packs. Remember, just go to the able 10 sites, and if you want to find a location, just go to preferences on able to life and then just go on library and he can actually choose a location for the pack. So thank you for this lecture. You got any questions about packs? Feel free to start discussion. So thanks for watching. And I'll see you in the next one. 21. Control Bar: Okay, so going along up here we have the control box. This has things like the tempo, the tap tempo. We can choose the time signature the Metrodome. We also have a quantum ization here. Then going cross. We have the arrangement position and then we have the transport controls that play stop record. So going along, we have some of the overdubbing features. Then we have some controls for mapping, keyboard, media mapping, and then we have some system performance indicators that CPU. And also, if this midi information coming in from external, many devices were going to go three more of these when we need them. Because if you're new to able to live on explaining exactly what some of these things do, it's not really in context. So the best thing to do is carry on through these lectures on when we go in and start making music and explain what the instruments do for the already effects du midi effects to Max for live the plug ins eclipse that samples The place is when we go through all of this , it will make a lot more sense. I don't really want to go through some of these over technical things to start with. I want to go in and start making music. Start experimenting, having a look at this session view having a look at the arrangement view to start putting in beach, start putting ideas, start getting loops, and then we explain detail how you can use more of these features and Abels on life. But the most important thing is to just start. So I recommend just going to able to live now and just start playing with some ideas. The next lecture. We're going to have a look at this browser feature over here, so thank you for watching, and I'll see you in the next lecture. 22. Browser: Hi. And welcome to this lecture where we're going to be looking at the browser. The browser is this section over here you can open and close it with this little triangle. A large is just to go in and choose instruments, Sounds, effects, that kind of thing. You also have this feature here. Favorites we can save your favorites on. Let's just go down. We have sirens. So this has some of our presets? Of course, we can just click on these to audition them. Just make sure this headphone is that state toggled on this blue little headphone on. Then you can just audition these here What they sound like You can double click to and set the same. But what this will actually dio isn't replace the instrument in your midi tracks before I did have a drum kit. Now it's play in this ambience. Well, so if you hit command said, we'll bring it back so it can use drag it onto a new media track. If there's not a new media track, A recommend creating a new media track shift Command T shortcut. We're going to create up here Midi track. You could just direct these over to the Midi tracks that you go. And now we have this ambience well on. You can expand this by hits in this little arrow here. Notice that hasn't actually dragged in on eclipse. It's just rot in this instrument because you will have to actually add your own clips. So remember, if you double click on this midi information here, you'll get this Ah midi note At the surf, you hit the B button you can draw on some nights you hit the B, but again it would get rid of this little pencil. You can hear these notes if this headphone icon is total them backspace to delete. Okay, I'm going quite fast, but I do want toe kind of get through the essential set up in a Bolton life cause the most fun part really is going in on learning what Simpson who were leading what the effects do and actually make music. But at the same time, this stuff is important because if you don't know how to use this, it will hinder your performance, and that's creating music. And that's sleep making sounds or live performance in able to life. It's the signs will give you a load of different sounds. You can just quickly go in and find some sounds to say. You're after a piano sound. You can go down, find piano and keys. You could just have a look. Care on abstract piano, then grand piano, Rampy iPad. Or you can go to the search engine here. Let's type in piano and sounds will bring up a lot of different color sounds. Okay, and then going down, we have drums. Of course, this will have drums, so actually have different drum kits. This won't actually dragging these samples here. So if you drag this over to this media investment again, you can take a moment or two to load, and you notice it's not actually playing the drum kit. The preview will give you a drumbeat. However, you will have to program your own drumbeats in in this drum section. This is for drum kits. You can go through auditions. Some of these say this one was quite nice. So, like this, you can drive this in, and this will give you something called a drum rack. I do recommend checking out the lectures on the drum rack. I'm not going to explain that night because it is quite in depth. There's a lot of different functions and features in the dramatic, and I have several lectures just on the drum rack. So I recommend if you want to have a look at creating your own racks, so creating basically a drum kit of different sounds inside one midi instrument definitely check out the drum rack section. Okay, so we have drum hits. Bell Congo bongo collapse, loads of stuff going down. There's tons of them in able to live sweets on instruments. We have the different instruments as well. We've got lecture about these. So if you want to have a look at, say, this wave table, which is brand new to able to life, tend to have a look at the wave table lectures. But we can go in and just drag some of these presets like before we can just click on these , review them. Just make sure this little had phone icon is on thing is really useful, or is it just quickly here what type of sound you're going to get it. If you do like this dragon over like before and then you will have to go in on add some mini information. Some of this can be quite daunting. But remember, have a look at the lectures on this section about wave table and the other synthesizes so got loads of different ones hit lows to choose from. Now we have audio effects. This is stuff like EQ you compression reverb. That kind of thing is Loeser lectures about this in the course as well. So I'm not going to go through all of these now because there's a lot here and it's quite a detailed thing. And then we have media effects. This is stuff arpeggio, haters and the difference between audio effects MIDI effects is the audio effects processes the audio services after it has gone through the instrument. The media effects is before it goes to the instrument. So many effect looking arpeggio. It'll go here before the investment on an audio felt like chorus. We go here after instruments, so I'm just going to ah, drive this down. Turn this monitors all toe and you know just wanna play key. You have some of this thes dots here. So this is midi information. It gets processed into this arpeggio later in a different rate without Pejeta. Then it goes into this instrument that processes and changes this MIDI information into audio. And you see, here we get some audio, and then it goes into this effect, which is a chorus. So you can obviously change some of these features for the chorus. But that's just a quick overview of the difference between MIDI effects on audio effects. There's a lot of different ones in able to life sweet. Using a different version of able to live, like able to live, standard or able to live intro. You might not have as many instruments or the effects on many effects and then going down. We have Max for live. Maxwell Hive is very detailed. It's basically a way of actually programming your own sounds. We will look at that later on in the course. So if you want to have a look at Max for live, check that out, then we have plug ins. So this is for third party plug in So companies like Native Instruments waves you a D. That kind of thing. They will be in here if you have a Mac, you have audio units on V ST's for using a PC to use able to life. You will just have the ST's so none of these will actually come of ableto live. So I'm not really going to go through these in this course because there's so many different ones, and that's for a different class altogether. That's for a different course. But if you do want to use any external instruments like I used their keyboard serum quite a lots, it will be under even V ST's order units. But the instruments and the effects you get ableto live arm or than good enough to make very decent music. Of course, you can get over external instruments over external plug ins, but generally they will cost money. There are a few free plug ins you can get online, but the good ones normally you will have to pay for okay and going down. We have clips, so this will play a different clips of different loops. You will have to go down here and collect to preview, so we get stuff like percussion on here. We're drumming sample, get some interesting stuff. Of course, we can search appear. Let's search for Pop. So have you get drums, pop, let's hear this clicks again for it to stop because then you have samples of this can be one shots this congee, drum hit snares, kick drums that kind of thing can be sound effects crushes. There's some leaps as well. So if you want to build her own Symes and Const. Houston sampling thes samples can be very useful on going down. We have places to have packs. These are some packs that available ableto so you might have the straightaway. You might have to go in on down those some of these packs. You have user libraries. Well, so these are some racks and instruments that I've edited and created myself. So when you do create your own presets, there will be saved here. Then you have current folder. These are some of her folders as well, and we can add fold it. So if you have loads of different sample packs and libraries, that can be in these folders here, and we can just simply create our own folder. That's the bribes, the feature in able to life. Just remember, we have favorites, which can be quite useful, so you can always say favorites that we have sounds so can quickly go in and find some sounds. Drums so you can get O in and find some drum sounds. Instruments. He's a very detailed will will be covering this later in the course order effects again. It's a lot different ones here. Don't worry. If you don't have able to live sweet, you'll still have a fair few of these audio effects and many effects as well. So this is like a said effects that go before is processed into audio, so this will process the MIDI information. A Max for live, which quite complex. I wouldn't really look at Max for live right now for your brand new to able to live if you're intermediate or advance. Max for live can be fun and interesting, because you can really go in and customize your own sounds. Then we have plug ins, which are from third party manufacturers, the companies that are not able to live. Other companies, like I said, waves Utd, native instruments, that kind of thing, but you'll have to buy them from their websites and install them in clips on then samples. Thank you, what's his lecture? Just about the browse section and I'll see you in the next one 23. Song 1 Analysis - Chord Progressions: hello and welcome to this lecture where we're going to deconstruct and analyze attract that I'm actually currently working on. So we're going to start off with looking at the chord progression. So in this track we've really got free, different chord progressions. We have this section here, which is green, the section here, which is below. And then there's another section over here with never chord progression. So let's just have a look through some of these chord progressions, and I'm goingto explain how I actually wrote these cords. So first of all, this is in the key of C minor, but that doesn't necessarily mean all the courts have to be in C minor. I do throw in a D flat, so this is a note that's no in the key of C minor so temporarily it does actually change to a different key on. I like to do this sometimes, because it can add a bit of flavor on a bit of movement to your core progression. So let's just have a quick listen to the first section. So that's the first chord progression. The song has not been mixed yet. It's still the ideas there. I thought Show you this while I'm still in the writing face. So let's just have a look at some of these courts. So this first called here is actually a C minor. You know, it's a minor because we have the flattened Third. If it was a major, it would be the sharp inferred on next. We haven't a flat, so we have the a flat se a flat on the flat again, a lot of higher in able to live. It does come up his sharp since their flats. I normally look at C minor in terms of flats rather than shops. Okay, next, we have quite a big chord here, So it's similar to the one we have a say on the flats a J on the bay floods. So this court actually played by ear, so it's quite unusual. One is kind of Ah, in a flat with a G in the base. But we do have the Seventh Avenue flats, and we also have the second of no flat, which is a B flat. So it's kind of a flat seven ab two over G. Because we have the Jian. The base is quite a big of in depth cord. Let's have a listen to this in a different part of the song as well. I think this court here, you can add quite a bit of richness to the track. Let's just solo this main pad. Yeah, so just add a bit of tension as well. These this cool way do release it in the next chord, which is simply just a f minor. So the F minor has left see enough again and then the flattened third, which is the difference to in the major and the minor in most cases. So we have this C minor. Then way have a flat that may build a bit. Tension with this fared chord, which is a kind of a flat seven add to over g quite a complex scored and then we release it again with us f minor. When we get back to the C minor and then we have another interesting called It's quite simple. Chord doesn't actually fit in the key. This is a D flat major way. Have the D flat because in the key signature off C minor, there isn't a D flat, so this creates a bit of movement as well because it has this kind of semi tonal shift. And then we released again with the F minor, okay, And then we have the last chord, which is basically a G minor of a lot of space. So this core progressions really about tension and release on to create nice chord progression. But now and again, I want to add a bit of tension and then release So we can do this by building up kind of larger, more unusual cause that can attention. Or we can actually do this by creating a modulation. So I'm moving to a different key on. Then we release back to the key. So that's what really what the first chord progressions about just creating a tension and release to make the song, in my opinion, sound a bit more exciting. Then we have the second section, which is kind of the verse, and this just repeats the 1st 2 chords so you can see here we have the loop of all the core progressions on this just repeats the C minor on the A flat. It's just a simple two chord progression. Just because I don't want all this tension all the time intros Onda kind of the chorus section. We have this Mawr complex core progression, but for the verse, it's just these two chords. So when it does bring in this more interesting chord progression, it makes it stand out a bit more. Then we have this middle eight section, so we have another section of courts, so this has a lot more space. You can see the cords antis full suit, create more open sound. So here we have C minor. Then we go to G Minor and then we go t o f minor. Then we go to a kind of a G minor again than a C minor, then f minor. So that's this chord progression. It's not really too much about the exact note she used a de recommend playing by ear as well as known your music theory. But just remember, if you want to make your music mawr exciting, you can add suspense. You could add tension by adding some unusual cause in there. As long as you get a loop, go on rounds, the loops match the first chord on the last call or match each of it in between. You can add stuff that's a bit more exciting. It you can add stuff. It doesn't necessarily fit in key just to make it so more exciting. So that was really the premise I had was creating this song. I wanted to make a chord progression that added tension that added suspense on, then got released. And that's really how I did it with this main core progression here. And then I just leave the 1st 2 chords that had a more open section with less book going on the cords as kind of a middle eight section. Just add a new element into the track. So that's really the chord progression for this track and the next lecture. We're going to continue looking on analyzing this song. 24. Song 1 Analysis - Melodies: Now let's have a look at the melodies of this track. So the melody off this track is based on this main riff here, and then we have a few alterations off this riff. Let's just hear this. So that's the main melody is really just based around the court progression. In the previous lecture, we had a look at the core progression. It wasn't a standard kind of 251 chord progression, so they used the standard notes. In the standard chord, you might find irregular chord progressions. There is modulation in there. There's a few notes that don't necessarily fit in key, but that's fine. It doesn't have to fit in K. So let's have a look at this melody here. The good thing about Ables and live is when it's one note at a time. It will tell you what notes actually are. So the first court re hard waas, a C minor way, have a J, which is the fifth of C minor on. We have a B flat or a shop, which is the seventh. Then we have the G sharp or a flat, which is the six and then going down. We have the F, so it's basically just notes that fit in the cord on. I actually played this on a mini cabled, and I just wanted to have something with long held notes with some runs in between. Two main notes here on this is really just the runs in between that fit in K. And that's really what did. Continuing on continuing on into the next course are just held over notes as well. It's a similar kind of thing all the way through. It's just the held notes. There is one section, however, where I do actually play D flat the moment. This is just a notes in the case. So this is really just built around notes in the court, normally built around the route offered in the fifth and then in between, I have a few different runs that still fit with the court on when we modulate to the court that doesn't actually fit in key. I change the melody, so that fits with that court as well. That's the main melody. It's just really built around some long held notes that are normally the triad. So the route the third or the fifth off the court, sometimes the seventh. And then I just put some passing notes in between. I try and make it sound melodic. Try make it sound like it's a song. Ref is something that can be quite catchy, but the same time not too predictable. Then we have this of a riff here, which is built around the 1st 2 called, which is a C minor on a flat. So have a similar kind of rift. But I just make sure when they're the cords actually change the melodies and the riffs actually fit in these cords as well. So is very similar. I just make sure when the notes change, the melody changes with the notes because you'll notice here the second half isn't actually here. I'm just using the first half of the ref. I'm just double checking and making sure all the notes fit, which they dio so you can see hit finishes on a C on the free play. The note here also finishes on the sea, so it's just the first half, and I just went through and double checked by ear on free music theory that notes actually fit. Then the rest of the melodies are basically just notes that held or rhythms or patterns that just go around the route, the third and the fifth, or sometimes a 74 record on a lot of it's just playing by ear And just knowing music theory , you need to know the cords really need to know chord progressions, and you need to know your keys, especially before you try and think outside the box and create modulations and change the different keys. It is important to know your music very so I do recommend studying music, very having a look, different chords, having a look at core progressions before you go in the right music because it can help. Of course, you're here is the most important thing, but no music theory can definitely help. So it's a song analysis. It's basically built around this core progression, and then it's built around this melody 25. Song 2 Analysis - Drum Beats: OK, and now let's have a look. I never track that I'm currently working on. And let's have a look at the drumbeat that so I'm just going to play this track and a strong be It was actually created with the drum rack on the push to, but this can be done without the push to just by typing in there as well. Wait, there's quite straight from bait notice. We have the the first section we have, the kicks on every beat and the snares on beat free. And then we have this rhythmical high hat does repeat quite a few times to create that kind of shaker. Feel way on the second part, it seems to have a bit more movements, and the reason it does this is mainly because the snares appear now on two and four way. Just have the hats on 16 nights, so there's less emphasis on the hats, more emphasis on the snare and the kick. This adds a bit more movements. It's very popular in a lot of electronic musical disco music. You have this standard drumbeat in the next section that we actually take out the snare, take away some of that movement's way. Bring the snap back in. That's not frequent. We actually take out the kick to create less movements is kick on the ends just to give it a bit more movement. But it's not straight, so we create as much derive. So this is perfect for more versed section. But generally, if you want more of the hands in the air, big chorus straight kicks on snares on two and four will create this, and that's basically the drums. It's just around creating movements. The easiest way of doing that is the positions off the snap. Eyes never sections well, where taken all the hats, and there's even less kicks. And they've only got snares on beat free. So when the snares weren't beat free, it creates that kind of halftime feel. Wearing kicks back onto every single beats, which creates more movement, and then it kicks back into this full sex, and then we have the full section again snares on two and four. So what I mean by two and four is there's four beats in the bar because room 44 so 12 free for the snares on fourth snares onto the kicks on every beats. I think so. This track is really built around. The drums is built around creating movement on the way we can do that is by creating the straight drumbeats. So we have the kicks on every single beats. The snares aren't beat two and four on. Then we fluctuate between that Andi, a less straight beat, so less straight beat will not be like this. It won't have the kicks in every bar. It will be, Ah, more like there. So there's some gaps of some spaces. And that way, when the straight beat comes in, it's more noticeable on that kind of direct the audience to believe that this is the chorus . This is the main section that's the drum. Be actually wrote this on the push to, but you can use this in the piano roll editor, but I do definitely recommend using the drum rack. If you want to create your own drums, have a look at the section all about the drum rack. If you don't know about that yet, that's one of my favorite features about able to life. So thank you for it's just lecture. Just about deconstructing one of my songs on the drumbeats 26. Song 3 Analysis - Unusual Chords: Okay, now let's analyze another track on the way I created this track is I wrote a load of clips in the session view, and then I recorded it into the arrangement view this track I'm currently working on. It does use some quite unusual cord. Some of the cause I can't describe because they're so unusual. There is a lot of modulation. There is a lot of key change, all about suspense and wanted to create something quite eerie and quite mysterious. So let's have a listen to this. - This is quite unusual core progression. So if you have a look at the core progression, let's just open this up. You'll notice we have this see playing all the way for. Apart from the end, it goes down to on a flat. So I'm just going for you. Each notes AARP, agitating each note. The court. This is quite unusual, cord. It's kind of a C major. Then we have the minus seven, so it's really a C dominant seventh, and then we have another court here, which looks quite unusual, huh? So having a base in the sea Shop, a DIY shop on a G shop, so it's quite unusual. Called this. We have a lot of suspense. We have a similar call to the starts. This time you drop, but we have a semi tonal movement off a shop to an A. Then we continue through the cause. Some more suspense, especially this bit. Here. We have a semi tonal thing here. Generally, when you write music, if you add a lot semi tones, it can create lots suspense because this does really clash. So it's all about more of a regular cord and then suspense more of a regular cord suspense . More of a regular Corbett still have suspense in this cemetery movement here, so it's just kind of crane suspense and releases, especially this cemetery. The movements here can create a lot suspense, so it can sound quite eerie, quite mysterious, quite spooky, which is really what I wanted to create. So let's just solo this piano partner. Have a listen to this again. It is a very unusual core progression. I played a lot of this by ear on my midi keyboard, and I do string sounds and piano sounds from a sample of core contact. This is not included with able to live this is made by native instruments by Do you recommend it? If you want some high quality samples way have this string signed here such the violin sound, which is playing a semi eternal movement between C and B. Just add even more suspense and hate. This called son even more unusual. Let's just listen to the cords Web, this string sample as well. Yeah, so this track is just really about creating suspense on the way did. This is by creating a lot of tension and also releasing and using semi tonal movements. So going between notes right next to each other to create that kind of eerie, uncomfortable sound, which is very popular in a lot of horror. Music is very popular in a film music when people want to use suspense. So this is really an interlude track between my other songs. Just add some uncomfortable tension between the more conventional tracks, so thank you for what's in this lecture on. I'll see you in the next one 27. Wavetable Part 1: Hello. In this video, we're going to be looking at the wave table sent in a Bolton Live 10. So this is brand new to live. 10 live ni. We didn't have this synth. It's a way of table sense, so we could actually control the sense a lot more with the wave table. It's similar to say serum. If you use serum before before, haven't. Don't worry, I'm going to show you in this lecture how you can actually use this wave table simp. So just drawn in some chords here, just some basic chords and then have opened up the wave table sent. So here you go. We basically have a couple of our Slater's going through a couple of filters and then being modulated by a couple of envelopes on DSA. Allah foes. At first there's can look quite intimidating, especially when you click on The Matrix. It come about what is going on, but I'm going to go through step by step, how you can actually use this synth. Let's go through on the left. We have a sub, so this is a subjective below. You can control the gate. Control the tone, control the active without the sub trolling type. For now, we're gonna turn this sub off, but that's basically the suburbs just to serve us later. So you control the gain, the tone. It's a nice, interesting side of time with this basic sine wave over here. Sure used this side go through the different types of wave, so we have a sine wave triangle square and sort if basic four waves. This style here just allows us to go between these different ones who I recommend just going through an experiment. This can produce lots of gain, so I've actually turned this down quite a bit on life. This is under the category basics. We have several different ones. Collection, complex, distortion, filter, etcetera. Then we have basic shapes, and there's loads of different ones. We actually go for it, click through and choose different shapes. Or we could just use this arrow here on your notice straight away. A lot more waves that looks a lot more complex so you can get a kind of more complex sign from this. So this is under the harmonic Siri's. The notice here changes from kind of a sine wave more of a square wave. I may have a different view here, so we have the more list style view of the waves changing or we have the circle of you. There is no of a stock Simpson able to live 10. That's really anything like this. This means instead of a simple period, it wave form. Like I said before sine Triangle square and saw we have a whole collection of tables, and this is why it's called Wave table Tables are combinations of different wave forms that can really just more through. The sound also has a global way for more control, Which is this over here I recommend just going for an experimenting to start off if you haven't used ah wave table since before it's so much fun. Just experiment and go for all the different sounds and trying to hear the different wave sounds. So the reader is a whole variety of different ways stands here. First of all, let's just go through an experiment. Retro, for example, choose this one. It's a simple one. So when you actually move this morph control, you're re calculate in the way form, as it's being generated, can also grab on our filter, So I'm just going to play this night. Change the frequency a lot of the highest because this is a low pass, which means it allows the lows and cuts the highs. Change of residence, which adds a bit of a peek at the cut off point, had a bit of abuse that cuts off. I generally like to get the simp sounding good before I have filters and effects, but can always Other filter filter is a great effect. It's a great way to cut out some of these high sounds. Or maybe low sounds sculpt the sound into something more that you're after. Of course, we do have never filter as well. You have different types here. Let's change this to a high pass. So high pastors is it allows the highs and cut Salo's. So I only really allowing this mid frequency of waves moment sculpted and change around. But I'm just gonna have the low pass for now. Okay, moving on. This is the bit that looks a bit more tricky. We have something called and matrix. Some really go in as sculpt. What's going up? So we have a matrix. This looks a bit more complex, but it gives us a lot of flexibility in a lot of customization. For our Simpson, we can really add some modulation of the L A foes, which stands for low frequency oscillator. So you could basically make the same go faster or slower in a really simple way of putting it. So let's change the OSCE Lehto one position. And here you can see the way of moving up and down through the LFO. We have a second off LFO as well. Just double click to go back to zero. And if you go on the mod source so modulation source I'm a click on LFO. It can actually change the amount on the rate on the shape of the offsets. I generally like to sink this to the clock off the project rather than time out rather than one hurts. So I'm gonna click on this little which of a note here, and then we can just really sink it to a time value. Let's choose 1/8 keep it simple. Amount 100% shape so you can choose the different types of waves. Let's just choose a sine wave to start with and then go back to Matrix and you're noticed. Now it's actually locked to 1/8. So for turn on the match name up here and then we add some alibi. You can hear it syncs up to the clock off the campaign adds modulation until the ones say, amp. Thistles the overall volume. Really, it's going to be adding your low frequency oscillator. Of course, we can go back, Teoh mod sources and click on LFO two. This doesn't have to be the same rate has changed this to on six notes and go back to Matrix, and then you can add on LFO two. So this is changing the Oslo one positions. This is changing the position of the way. Let's change this to AMFA's well, your notice critics of a little bit more unique now. So have LFO going on 1/8 notes and also LFO going on 16 and hates so you can create something quite interesting. Double click to go back. Same with a pitch. Be careful of the pitch was it's that can San maybe a little too wacky. It depends what side you're after way want crazy kind of intro or some weird sound effects . You could add a low frequency else later on to the pitch. My favorite one here is actually the US later one position so you can go through the position of the waves a certain rate, which is pretty awesome. Okay, so that's the basics off the wave table. Since I recommend just going in now playing around with different oscillators. So we have the suburbs later. Also toe one memory looked all stated to yet we have the filter, which starts to look at models on matrix. The next lecture. We're going to dig even deeper. Look at the wave table, synth inm or details. So thank you for what? You just lecture and I'll see you in the next one. 28. Wavetable Part 2: Okay, let's continue looking at the wave table synthesizer in a Bolton Life tab. So one thing I didn't mention it in the last video. So if you hit this arrow here would expand the wave table simple, even derogate more. And depending on your screen size zoom, you have been able to life well, Philip. Different spaces. But if we drag it all the way up like this, you'll notice there's a lot more we can actually see in this way of table symptom. And before we had different taps. So we had the Midi matrix and we had the modulation matrix. Now is put it all in the same tab. We have the filter here and then we have our slow to one up here are slated to You have LFO here so we can control the amount of LFO. Notice the waves large, old, smaller the rates as well that we get tighter as the rate increases we have the shape as well could make it more square or more triangle and then the offset as well LFO twos the same is a lot. For one, you can have different low frequency oscillators going on at the same time, if you wish. We have the ampere to this will affect the overall sound off the symptoms. Never envelope one and to which we can use in this modulation matrix as well as the amber. So the ample affect the overall sound and then we can affect the separate envelopes with the Matrix. Here we can also affect the midi information, which is interesting too. And we do have a unison but in here so we can add Younis to move different types of unison , and we can add the number of voices as well. So let's choose classic. You'll notice when we play this back. Crazy biggest spread sound way can increase the amount on that is none so us and obviously makes a huge difference. Okay, now let's add on oscillator to can actually control the gain levels off each us later here so can create a balance cheese. Say this one way can also hit the arrow button. Get the original seven way, so let's go through. These are buttons. Let's go to the Matrix Andi for are slated to going to add on LFO. So let's turn off are slow to one on the subway internal Slater one on the sub. You can also change the symptom honor on Adam Glide. Obviously, this parts playing Chorzow mono probably would not work. However, if you're creating more, the lead part model might be more useful thing. You can get that interest in glide sound, and that's basically the wave table synthesizer. One of the thing we can do, which is really interesting, is we can see right click and anything. We want to hear any parameter and go to show automation. Now we can actually add on automation. Let's go through this part here. You know that's just filter will change. Increase it so you can change the effects over time, which is really interesting as well. Another thing we can do is actually group this. It's into an insolent rack. So if we just hit command and J were created instrument rack and then if we open up this we can find a macro here then that say, we want Let's just right, click this on, map this to macro one, and then when we move macro one, it will move the game off, are slated to, and if you're using an external controller, like an A P C 40 or push to. You can map this to these MIDI controllers also, so you could do a few other ones. Let's say map the tone off the sub to macro to so you can see when you move the macro, it'll move. Other things here can also right Click this on go to show automation so we can actually automate the macro as well. Obviously you can do this if you just automate straightaway by right clicking and hidden Zschau automation. But macro allows you to actually send several things s so I'm going to map this resonance to macro too. So let's hear this back now so you can actually see it moves in real time on. So does the Macrae. We can automate this macro here as well. So right, click show automation on. Let's create somethin bit more extreme. See, the macro is moving. We can see the wave going through the waves. You can see the filter on the resonance actually moving as well. There's a lot of interesting things weaken dio, especially of the Matrix on especially when you start mapping this to an instrument rack and using these macros and using the automation. So I hope you found this useful. Remember, you can go into the wave table and explore it even more by hitting this arrow. There's a lot of things to go through, but I do recommend mainly just going for an experimenting. There is stuff like the envelope we didn't cover so much. But it's a simple a D s are envelope. You can change the attack time you can hear now it takes longer for the attack to come in. We can increase the sustain. We could also use this in the Matrix as well. The main thing is just to go through explore. Just try and think of some interesting sounds. Of course you can and go to the instruments over here, so go to instruments. Wave table on. We do have a load of different presets, so what you can do is actually save this instrument right here. Hit this save. I'm going to call it Wti Example Now that saved. And let's just open up a preset. So let's find, say, pianos. Satar. Presume this to blend between the piano and the satar. Let's hear this. You can always go through and have a look at these presets and try and work out what it's doing. Going to the Matrix change some stuff around. I'm ready. Just explore the presets as well. That's basically how you can use this way of table synthesizer in able to live. 10. I hope you found your slept useful and I'll see you in the next one. 29. Capture: Hi. And welcome to this lecture where we're going to be looking at a capture feature in ableto live 10. So if you have a track record enabled So if you have this red button here, if this is selected on the track, you can actually capture stuff without recording it em. So sometimes you can come up with an idea when you're just messing around on, say, your midi keyboard or maybe even your posh you don't really have the pressure of recording . Then life can actually capture this midi information and tempo, so this could be really useful. If you feel a bit of pressure recording. Or if you just want to mess around and get ideas, you can recapture these ideas again. Okay, let's use the capture feature. I'm just going to play around on my MIDI keyboard. Then all we need to do is hit this button up here, which is the capture button. It has changed the tempers Well, you can see it's changed to 78.5 beats per minutes. We can also play in some overdubs, so I'm just gonna play this part back now. Older is playing some ideas them on just hit the capture button. Okay, We can also add in, say, some drums. I'm just going to record enable this drum kit. Then this is play this keyboard leaf again. We can also tell the Metro name if you wish like so And then when we hit the capture bottom drums will appear here as well. You know, since we have a two bar loop in the first clip on life wants to keep it as a two bar late. But we can rearrange this if we wish. Like so we can also quantifies this information. Now you can hit command day and command you to Kwan ties so we can go back to everyone and quantities this if we wish. Also now, when we play this back in turn off the Metrodome, we've just created a grave really quickly without even recording. Let's go in and edit parts change stuff around so you could just come of initial idea is really quickly with this capture feature. And like I said, you can add on overdubs when you do is hit capture button again and you can see the overdubs half appeared like Cedric Anquan times this as well now when we play this back, we just made a grieve about really recording just by using the capture feature. So that's it. That's basically capture. So you're loop on your tempo, are captured. It allows you to focus on playing capture will allow you to record your loops, tempos and also records and captures the velocity off midi information. Then, after you can edit this, you from Quantas, this you can manipulate it. But just for coming up, the initial ideas capture can be really useful. We really need to do is just make sure you tracks enabled and select the capture button, which is this one here. And also, if you're playing your original clip, you can just quickly adding overdubs. So that's capture, and that's how you can use it in ableto Lifetime. 30. Echo: Hello. In this lecture, we're going to look at the echo audio effect. So this is a great emulation for unlock delays, and it also can create some interesting noises. So this is it here. This was turning up. And here we have a visual display off what's actually going on, and we have a few things around the edges. We have the rates. Then we have Riva. We have a few more tubs here, modulation on the character. Okay, so I'm just going to play this little loop that created without the echo on on. Then we go through in detail what all these things actually do. So this is the loop that I just made. So this is about the guy on with the Echo. Let's go through these settings now. So here we have the sink rates for the left and the right channel, so you could choose, say, 1 64th It's quite a robbery. Sounds when it's that fast, cause it's so quick, we can slow it right down on. We have a link button here so you could have the rights having a different sink setting to the left. Let's try that now and the visual displays actually showing us the speed here. So have a lot more space here because the left is going at 1/2 notes and the rights going at 1/16 notes. So you can see what's going on here. And if we link it, you can see it links together as we change it. The visual display will change with whatever we have changed on the left Here, we don't have to have think we can have it. Time value. We could have the left with the time value and the right sink. At the moment, the dry wept some 70%. If we put this to 100% you can also choose the type of note here as well. So you have notes triplets dotted. 16th on. This is actually a faded out When it's in time value. This will only work in sync so we could have a dotted course notes. And that's just link. Please could change this to triplets. We've changed to 16. We can create some really crazy signs with me this in real time while the instruments actually playing. Okay, so going down we have the input here. What we can do is correctly and put up really far and then put the output down and this will create some overdrive. Do recommends having a limiter on your output, though if you're going to be doing stuff like this just in case you do push it too far. You don't blow your speakers. This is one wave created some overdrive If you want to get that really old fashioned analog style echo, Just put this back. Double click Teoh default. Then we have this d button here. If we tuggle this some This causes that input gain to distort the dry signal. So similar kind of thing. If you want a bit of overdrive and distortion below, we have this little symbol. So this actually inverts the feedback polarity. We can increased feedback here, so the feedback will feed the echo back into the echo to create even more eco. You can get some really wild effects when we increase this feedback. Do you recommend having a limiter on the Master Channel? If you are going to be playing with a feedback or pushing the echo quite hard, We actually have a filter here so we can filter, right? What we want to go to the echo. We can choose their filter, high pass and the low past and also the residents of each one of these. And if we hit this little arrow button would be able to just drag it around, like so it would be easier than just the numbers we can create kind of a band pass thistle and loathe I love See if you mix it with dry, wet frequencies here that actually going to be put through the echo effect. Now it's just a really high frequencies that are going to be echoed. Could turn on the roof. The filter. This person here, let's just put, went all the way up. Okay, we can hide the filter. That and getting along. We have reverb so we can add reverb as well, and you can choose where we want the river pre means. It will be before the echo post means after the echo, and then feedback will be after the feedback as well. So post will be after the echo, but before the feedback and feedback will be after all of it, so you can get some pretty crazy effects when you have the river on after the feedback, but let's hear they're pretty first. Let's try priced. Let's try feedback that has to be increased. The feedback. It's a really wild sounds. - Let's just turn the food back down so you can get some really interesting sounds or use this as a sound design tool as well. So going back to their time here, we also have thes offsets so we can create a bit of a swing delay if we create some offsets . So we just swing it a bit and won't make it exactly perfects. What do you recommend having them both offset at the same points. If you do want to get that swing delay, Okay. We also have decay for the reverb. This is the case. 100% and then all the way down. Okay, going up in the top, right? We have stereo. Zero will actually be money on 100 will be its original width and 200 is maximum widening. We want to create a bit of a wider sound. You could push you above 100 then. Of course, we have outputs on. We have dry, wet signal. We also have three different types off the light here as well. We have stereo, which is a one. But listen to that. We have Ping pong, which goes from left to right, and then we have mid side. So the left becomes mid and the right becomes side. So this is the mid on. This is the side able to actually calls this display its echo tunnel. On the distance between the lines is time and the density is the feedback. Okay, let's change this back to stereo on. Let's just link this Andi change about two notes. Okay, Now let's have a look at some of these things up here have modulation. So this section here allows you to delay time and filter frequency but the onboard LFO so we could modulate the delay on the field to cut off with LFO waves. So we have different ones to choose from also, even a noise, one which can create some interest in Selves so we can choose the rate of the l f A. Then we can choose the phase. So this alters the telephones phase from the left to the right channels. Zero is in the face on 1 80 is perfectly out of face, we can choose how much we want to actually modulate the delay by. We can actually times this by four. I want more extreme lights so you can get some really crazy effects. We can turn off sync and she's a time base. Instead, we could also modulate their filter cut off so you can get some really wacky effects with this modulation. And then we have envelope. So when we increase this envelope amounts, this blends LFO modulation with an envelope follower. So, like I said, we can get some really wacky effects with this. And let's go along to character now the third top. So here we have four internal effects have gates ducking noise and the wobble. So gate, this will get the signal. So this allows us to control what actually goes through a delay so the parts have to reach the fresh hold to reach the delay so you can determine what gets delayed or not a zero. Nothing's actually getting delayed. Nothing's going through this delay because nothing's hitting. Zero db. If you lower this down to say for debate, it's a few parts. It sounds like maybe the snap is reaching for debate. And if we drop it even further, it's the whole of the drum kit. Let's just change some of this modulation a little bit too crazy. Okay, let's go back to the fresh. Holds up zero. Nothing. Okay. Dine 4.2 u minus 4.2 that's writes the snare. Okay. And then we have release, which is how long it takes for the gate to close. After the signal has dropped below the threshold going along, we have docking. So ducking, actually Paul's down the wet signal when the input is triggered, says a bit like side chaining. We can get some nice rhythmic movements if we time this right. So let's have a listen to the ducking effect. Basically, duck, sit down. And then we have release, which is how long it takes for ducking to stop after the input signal drops below the threshold. Then we have noise. So noise dulls in some noise to simulate a noisy analog delay. And you can morph between different types of noise with the morph here. And of course, we can choose the amount this crater more noisy delay as you come here. So if you want Teoh replicates kind of old fashioned analog echo or delay, and this is quite useful with this noise here, as you can hear still playing the noise, you can use this to create some sound effects as well or for sound design. Okay on, then, going along, we have wobble. So what? Ball seems to randomly wobble the delay, so it's kind of the pitch wobbling effect so you can choose the amount and more on more for actually sweet between different mod types or the different modulation types. We can have more than one unas well, so you can create some really wild effects, not just use this as an echo or delay. We could actually use this as a sound design talk like a set of the noise. You can create some interesting sounds. Just what it's noise. So that's it. That is the echo effect. I could say there's a lot of fun. You can create some really interesting sounds. Do you recommend going in and playing with It starts off with this, the main interface of the echo, Then go through, add some telephone modulation, and then we can add some more effects with the character Tabas. Well, so thank you for this lecture. All about the echo audio effect in able to the live 10 31. Drum Bus: Hi. In this lecture, we're going to have a look at the drum bus audio effect. So I just got a drum track here. Let's just drag on a drum bus onto this from track. Let's just hear what this sounds like without the drum bus. And then let's hear what it sounds like with the default drum bus. So here is the drum truck, and here it is with the drug bust, you can hear straight away. It gives it some body or punch. So the drum bus is meant to emulate an analog style drum process. Er so is designed, ready to add some warmth or some body to your drums. So we have a few different functions over here. I'm going to explain what all of these actually do. So the 1st 1 you'll notice is Dr. So this quite simply will add some drive, so add some distortion or crunch to your drums and then below this we have three different types of Dr Soft, medium hard. Let's hear what the free different types of dr actually sound like to this drum track. This'll soft off, see if we increase the drive medium and then hard you could hear hard, actually adds a lot of low end as well. So let's just get the EQ. You ate just two rocket on here as well. So this is hard. You considers a lot Loewen's. And if we swap it too soft so this type of distortion or drive is called wave shaping distortion is called this because it will actually change the waves. It changed the shape of your sound. Okay, going down, we have trim. So what this will do? This will allow us to trim the input. So if you don't want it to drive or push the hard, we can trim the inputs. So you noticed we can't actually drag upwards. We can really drag down. I notice a lot. See, get quite a trim the game. And if we double click will go about 20 then we have compressor. This is a very basic compressors, just a one button. So this is designed to give extra attack and give a bit more body to your drums, too. Without compressor, bikini instantly gives that body and gives that deaf to your drum sound so going along, we have crunch. This will add some or mids and highs to your drum sound. And here, that current you sound on the snap on below this we have damp. So what damp will do? It will take away some of the higher frequencies so similar to a low pass filter for a distortion. So with the crunch, it can get a little bit too harsh with those mids and highs. So we can kind of filter right or damp out some of those highs with the damp off the safe away here, it sounds quite muddy. We can find a nice sweet spot around about eight or so, so you can filter out some of these sounds that might be a little bit too harsh. Okay, going down. We have transients. This is an interesting feature in the drum bus. So this allows you to actually emphasize the transients. So these are the initial hits of the drums. So the punch for your mix a little bit more. Andi, if we move this to the left, this will actually take away the decay off the drums. So it makes everything sound a bit sharper. Orbits snappier. If you compare this to in the middle, so a lot snappier drums, Really? And if you move this to the right, it will still emphasize the transients. However, we get a bit more body to a drums, so this is nice. If you're using real drums that recorded in the rial sound, you want to add a bit of body. This transit feature is useful for this, so that's compared to so it can add a bit more body. Okay, going along off of the top, we have boom. So when we turn on Boom, we're actually adding musical notes to our drums. Obviously, this is quite an extreme example, because it's on 100%. Because actually choose the notes. We want the frequency here and you'll notice it will tell you the note with this button here. This might be a little bit too high for tuning drums. This could be useful for tuning your kick drum. You can see here it says the zero. And after we click it, it will tune too easy, right? A normal attuned to the key of your track or maybe even the fifth on. If we click this, this will tune to GE zero. Okay, We also have decay This decay control will determine how long this bass note or boom note will actually last for so if we have a short the case and the boom signed will not last very long. And if we have a longer decay sound, the boom sound will last a lot longer. We also have this little headphone I come so this actually allows us to audition the actual base frequencies here. So if you want to tune the bass frequencies, we want to hear the notes from this boom dial. Just make sure you select this headphone icon, and it will just isolate these. Okay, then we have a dry, wet amount. So this might be useful if you want to get a blend between your dry signal on your wet signal. So your signal without the drum bus and with the drum bus. And then, of course, we have the outputs. If you want to increase or decrease the output game, so that's it. That's the drum bus is a useful tool for making your drum sound more powerful and have more warmth, and it also can give your drums that analog character 32. Pedal: Okay, let's have a look at the pedal plug in. So this is basically a distortion device that's meant to emulate guitar pedals. There's a few different types of distortion overdrive distort on Dfas, so the overdrive is sort of a light distortion than distortions, more of a medium and first small for heavy distortion as we turn up the gain as well get some or distorted effects. So I just created a loop here. Let's just play this and then we hit a difference with the pedal on. Now let's turn the paddle on that. As far as you can hear straight away, how distorted it actually is. Let's go to distortion, then overdrive. So as we increase the game, it will become more distorted on forces just quite out of control when he increased the game. I put as well because these distortion units can create a lot about. But I do also recommend having a limiter on your master channel because it can peek when you're using a lot of distortion and you don't really want to blow your speakers. So if a few of the things as well we have a base amid on the trouble IKI on the mid has free settings kind of a low Miers middle mid that makes sense and the high mid do you recommend going for them and just finding the sound that will suit what you're after. We also have a sub because sometimes when you distort, you can lose some off the lower frequencies on the subway. Just boost this. I do recommend having this on unless you have a bass sound on. The frequencies are gonna clash when the sub ism. But normally the distortion will sound a bit bigger and a bit be fear. When you have the suburbs way, it also beast the base here way. You want it even base here. And, of course, like most of lives already effects. We do have a dry, wet amount if you like to balance your dry signal. So the signal of at the pedal on the wet signal a signal with the pedal so you could have say, ready crazy, fuzzy, a fact that's balanced with the dry signal. So just small amounts off the first effect coming through. But they give that big, distorted effect in the background. That's it. That's basically the pedal effect you can get some really big beefy effects when you distort cords as well as the lead parts. That's basically it. This pedal effect is meant to simulate a real stomp box, so unnatural guitar pedal or riel analog pedal. So thank you for watching, and I'll see you in the next lecture. 33. Split Stereo Pan Mode: Okay, now let's have a look at panning. So when we move things in a stereo field, this is planning release so we can move Frings from the left to the rights and vice versa. So I've got a drum track here, maybe to the right way to move it to the left. Well, is. Actually doing, though, is it's turning down the volume off things in the Left Channel when we get to the rights and it's turning down the right channel. When you go to the left, we can create true stereo panning, though it's what we need to do is actually right. Click a pan up and then click on select split stereo panning mode. So this allows us more control of planning so we can move the left all the way to the rights on the right all the way to the left. If you wish. Swap the planning around quickly if we put them both in the middle, a B, C or center, and this will make the track mono so this will actually lose asteroid field. So it's actually quite easy to invent the placement of your stereo tracks. Here. You can just put the left to the right. Then the right left waken put them both to say the right both to the left, and we can right click and go back to stereo pan mode, which is the standard one. Just this dialogue. If you do want a bit more control. I do recommend having the look at the split stereo pan node, and we can use this for any of our tracks. It just gives us a bit more control than just one dial, which basically just reduces the left and the right channels, depending the way you put this knob. So that's it. That is the split stereo pan mode. 34. Multi-clip Editing: okay, in this lecture, we're going to look at multi clip editing. In the past, we could only see one clip at a time, but now we're able to in a lifetime. We can look at up to eight clips at the same time, so this could be used for for editing. So we know, for example, what cause being played or what rhythms being played. We can see the other clips all in the one editor window. So all you need to do is just select the clips. So the Mac just hold down command or in the PC, hold down control on. Just click on these and you'll see the different lines actually appear. So let's just expand this out. The three go down, we can see what selected here in green is the drum rack. And then if we select this line here, the next one, this is simple and above is never sinned part. So when we play this lute now, we can see each individual clip on. The easiest way to go between them is to just select up here. So, for example, we want to move apart. Let's say this cook here and then the snare. But then we also Milan to move this part here. You can do this quite easily now, just in the same clip editor. So makes it a lot easier to see what's actually going on in the of eclipse. It's really useful, especially for drums and basis, and also for lead instruments so you could open up the clip of the court, and then you could base the leading judgment or bass the melody, a random notes in the courts and stuff flicking between clips, which you had to do in previous versions of able to life. You can just have them all open and just see what's going on in the other clips to make something lock in rhythmically or luck in harmonically or melodically. We can also do this in the arrangement view as well. I'm just going to have copy these clips into the arrangement view. Just open up a clip editor by double clicking a clip and then hold down commands to open the eclipse so you can see here by these free lines. That's free, different clips, and when we scrolled, I'm we'll be able to see the two different set of parts on the drum parts. Obviously, the drums have stopped there because the drum clip was just four bars on their SIM parts were Aybar's. That's it. That's how you can multi at it clips. It's really straightforward. Just remember to select the ball and then go between them with these lines here. So viewing and editing more than one clip in the editor just allows to see things without switching between. You can see the drum parts if you want to write a baseline or you can see the cords. If you run to write a melody part, it just speeds things up, and it makes it a lot more convenient when writing music in able to life. 35. Tension Instrument - Part 1: Hello and welcome to this lecture all about the tension instrument able to live. 10. The tension instrument is a synth dedicated to emulate string instruments, and it's actually constructed using physical model in synthesis. So what it does it emulates riel life string instruments. So if you go over to instruments, you'll see attention down here. Let's just click on this and open up the default one. So we have a few different things here. We have excited or damper termination and body, and we also have a filter global tub, the string tab here and all houses to control the physical properties off the string. Signed on the Filter Global Tub allows us to control some or filters and parameters. Okay, let's start with excited tour. When we click in this drop down box, it would give us different options. Bo Hammer hammer bouncing on petrom. So this allows us to determine what type of string sound will be emulated based on how the string is struck or excited. Hence the name excited tour. We control this on the rough, but if we don't have excited toe or damp around, it won't actually play any sound at all. so make sure one of these is toggled on. So Bo Emily, a bow hair moving across string So this is similar to say, a violin or a cello. So let's start off with this one. Have a few different knobs here. The first knob is actually force, so this is both force, and it allows us to change the amount of pressure being applied to the string by the boat so lower values will produce no sand. It'll on higher values will result in more scratchy sounds. So let's just put force down. You'll notice there's no sound as we increase it. Sand will appear on the Mawr force we have. The more scratchy the sun will be next. Is the boat friction up? And this allows us to adjust the amount of friction between the string on the boat so higher percentage or higher values will result in ah, higher attack on low of RU, friction will give less of attack. Then we have velocity, so this allows us to adjust the speed of the boat across the strength so some of these higher values won't actually produce any sound. The lower values will produce a more plucky sound. I recommend keeping the velocity in the middle and weaken DoubleClick to go about to default, which will give us 50% velocity. Then we have the excited tour position. So the position allows us to specify the points on the string. So if we have it at 0% the boat will strike at the end of the string. And if we have it at 50% will be the midway point of our strength at the bottom. We have this button here, fixed position on if we talk. All this on this will enable ass strings contact points to be fixed. So actually fix a string point to a single location rather than changing as the length of the string changes. Okay, let's try another type. So let's try hammer on. Let's turn off this fixed position bottom. We also have hammer bouncing on both of these emulates soft hammers or mallets. Hitting the string hammer emulates a hammer that's located below the string, and this is really how most pianos work. On the hammer. Bouncing emulates a hammer that's located above the string, and as it gets dropped onto the string, it will actually bounce so you'll notice there's a bouncing sand if we choose hammer bouncing compared to hammer. Well, it depends on what type of sound you're after. Just remember, Hammer emulates a hammer that's located below the string, and Hannah bouncing emulates a hammer that's located above the strings so it goes down a bouncer's. So when we swap to hammer on ham about think you're noticed. A few of the knobs has changed. On Bo, we have force and friction, and on hammer, we have mass on stiffness. Hamas hammer mass allows us to adjust the mass off the hammer so lower values will give us a quieter, more nasal sound. And higher values would give us a larger sound. So this is a hive I compared to that level value hammer stiffness allows us to basically adjust the stiffness off the hammer so lower values would give us a quieter or dull sound. And higher values will give us allowed a plucky a sound. So this is a lower value, so this is a or quiet, dull sounded. As we increase the stiffness, you get more of a loud, a plucky, a sound. Then we have velocity, which serves the same purpose as velocity for both, so it allows us to adjust the speed across the string. And then when we get to position, this allows us to specify the points on the string. So 50% is the mid points and 0% will be at the end of the string. You can hear a slight difference. Okay, then we have damping. And this allows us to adjust how much the hammers impact is absorbed back into the hammers . So lower values will give us a more doll. Sounds on. A higher values would give us a louder, brighter sand. Okay, let's move on to the next excited all type, which is platinum. So this is meant to emulate a guitar pick or pluck drum, actually striking the string with a platform. So you noticed that the first knob mass has changed into protrusion. This knob will allow us to select how much off the plate trim surfaced area is placed under the strength. So a lower value here would give us a fin a sound or a smaller pluck, and higher values were a result in the more intense pluck. Again, the rest are the same as hammer on both under all this, we have velocity on key, so the velocity sliders allows to modulate the above parameters based on the MIDI note velocity. That's Eva. Positive or negative on the key. Sliders allows too much later, above parameter based on our midnight pitch. So that's the end of part one for the tension instrument in able to live 10. Please join me for part two, where we will be continuing looking at this instrument. 36. Tension Instrument - Part 2: Hi. Welcome to Part two off the tension instruments in a Bolton Live 10 So continuing on the string section here actually allows us to further modify the sound of a string that's being struck by are excited tour. So we have a few different things. We have decay, which is the string decay amount. So this is how long it takes for the resonating string to decay, to silence, lower decay or create more plucky sound on higher decay creates a more sustained block. Okay, and to the right, we have key, which is where we can modulate, mastering decay, time of midnight pitch. So this allows us to add a bit variation from note to note. Then we have string decay ratio, which basically acts like a release. Nuts are string will stop suddenly if it's on 100 will sustain for a lot longer, zero way double click, it will go back to 50 then we have in home, which basically allows us to de tune upper parts of the string. This could make the string sound a bit more realistic. If we have upto 100% your here, it sounds more D tunes and if we have it, 0%. It'll sound less Do tune. Okay then we have dumping amount So this allows us to adjust the amount off the string Self damping. So a lower valuable result in the more dole sound and the higher value would give us a brighter sound. But then we have key which will allow us to adjust the string dumping amount by midnight pitch. Then we have vibrato weaken Turn it on by clicking This button here on vibrato allows us to add some LFO movements to a strings pitch so it produces of a barato effect. Okay, moving along we can see delay and this is vibrato delay which allows us to adjust how long it will take for the vibrato to start after the note begins So we can go between zero milliseconds and actually five seconds. That's changed this to buy and thats drop the delay time off the vibrato Ah, you can hear the vibrato comes in straight away on If we increase it to five seconds, it will take five seconds For the vibrato to enter we can double click to go back to the default which is 509 milliseconds. Then we have a broad attack which allows us to adjust how long it takes for Librato to reach its full intensity again. We can go from 0 to 5 seconds. Ah ah and double click to go back to the default which again is 509 milliseconds. Then we have rates, which is speed or the rate which allows us to adjust the speed of our LFO and how fast vibrato effect will actually sound. So if you increase it on decrease that you're here the rate of the l A phone on If we increase it, you hear the rates of the LFO increases and basically the vibrato sounds faster. Ah, Then we have a barato amount. So here we can adjust the intensity off our for barato effect Eyes 100 hand 20 that will basically turn it off. So Ahmad is to do the mod wheel on our midi controller and it allows us to affect how much Midi modulation is sent into our model wheel. 100% used well and then if we drop it to zero, it doesn't actually do anything. Really? Okay, then we have error. This allows us to add some random variation to the rate amount delay on attack values. Okay, Now let's have a look at the dumper section. So this section allows us to alter the decay off are vibrating string. So a real life damper, for example, is the felt that makes the contact with a piano string after you let go of a piano key. We have a few different knobs here that can control damper sound. So the 1st 1 is mass, and this allows us to control how hard the damper surface will press against asterisk. So a lower value will almost make the damper bounce off the string before reaching silence and a higher value will result in immediate silence. Okay, then we have dumper stiffness. This allows us to adjust stiffness off our damper. So a lower value will give us softer material like a piano felt onda. Higher value will give us a more metal sounding damper. Then we have velocity. This is actually great out. And we can turn velocity on if we toggle this gated button on here. If we talk all this gated button on here dampers only applied when the midi note is released with a MIDI controller. Now let go of it. You hear the damper, it's applied. And if we untangle, this gated damper is applied. So it really depends on what type of sound you're after on the velocity knob when the gated button is toggled will allow us to adjust the speed of which the damper is applied to the string when the MIDI note is released. So lower values doesn't really make an infant to noticeably different. And higher values results in a much allowed a sound as the damper hits the string really hard. For now, let's toggle this gated button off. Then we have position. So this is the damper position, which allows us to choose the point on the string where the damper makes contact 0% all the way down. The damper will contact the string at the end of the string. 50% is halfway through or the midpoint off the strength, and then we have dumping amount, and this allows us to adjust the resistance off the dumper so a lower value will give us a less damping longer decay Time on the high value. We give us a more dampened sound or a shorter dick a time. Okay, then we have some key modulation, sliders, and also one velocity modulation slider. So this one velocity modulation slider will modulate the position. Nub based, not income in midi. Note velocity on the key modulation. Sliders Well, actually allows to modulate the parameters above based on income in Midian notes or MIDI pitch. So this is the end of part two for the tension instrument in able to live 10. I hope you found it useful, and I'll see you in part free. 37. Tension Instrument - Part 3: okay, continuing on. We have this section down here called Termination on the Termination allows us to actually emulates the interaction between the fret finger on the string. So what it basically does is offers a few slight changes to the pitch on Tambra so we can toggle on enough. Here on the first knob is the finger mass. So the finger mass and allows us to set the amount of force applied to the string by the finger. So if we have a lower value, mastering pitch fluctuates a bit. So that's just turned this down and turn off the dumper on if we have ah, higher value than the string keeps its pitch a bit better and double click to go back to the default. Next, we have finger stiffness. So finger stiffness allows us to set the stiffness off the finger against the strength so lower values will slightly do tune mastering and higher values will actually keep our pitch . Okay, then we have fret stiffness on threats. Stiffness will allow us to set the stiffness off the France so lower values will affect our pitch. Higher values maintain a pitch so similar kind of thing. Okay, We also have this velocity slider on key modulation slider. So the velocity slider actually allows to modulate a finger mass based on incoming midi note velocity on the key slider allows us to modulate our finger mass based on our incoming midi notes pitch. So this section here just really allows us to add a bit of pitch variation toe our notes. We also have this little section here which says pick up on the pickup section allows us to emulate pickup similar to Elektronik, pick up on a guitar or on electric piano. So the only parameter here, if we turned on is pick up position. And this allows us to adjust the position off the pickup related to the string. So zero is where the pickup is located at the end of the string on 50%. All the way up is where the pickup is located at the middle, off the string and all the way down on the last section is the body section in this string tab. So if we turn this on, the body section allows us to actually resonate the vibration from the string. It's similar to a river. So here we actually have four different types of body. We have piano, guitar, violin on generic, So let's start off with piano on the side. Here we can choose the body size anywhere from extra small, two extra large. The first knob here is body decay, and this allows us to adjust the decay time of our bodies. Resonance so higher values will give us a longer decay. So it does sound similar to a reverb going along. We have low cut, and this allows us to adjust the amount of low frequency produced by the body's resonance, so higher values will decrease the amount of lower frequency content. Okay, then we have high cuts, and this allows us to adjust the amount of high frequency content produced by our bodies. Resonance so higher value will decrease the amount of higher frequency contents. Okay, then we have string slash body and this is a balance knob, really, That allows us to adjust the ratio between the string section on the body section. So basically all the way down, the body is bypassed on all the way up. The string is bypassed and it's just the body. And in between we confined a mixture. So if you put it all the way down the bodies by passed away, up strings bypassed, find a nice balance. If you do want to talk on the body section, Okay, so that's the end of part free in part for we're going to have a look at the next tab, which is the filter Global tab. 38. Tension Instrument - Part 4: Hello. Welcome to part for. And now we're going to have a look at the filter Global tab off the attention instruments. So it's just up here next to string. If we click on filter Global, you'll notice that we have a filter and this allows us to apply a multi mode filter to ask string before the signal reaches the body. Then we have other things as well. We have an envelope andan LFO on some global parameters here we can actually toggle on or off. The filter on this box here lets us choose different types of filters. So we've got low pass band passed notch high pass on formats going over to this slider. We have filter frequency and this allows us to choose cut off frequency for our filter So you could even drag it like this. Or we can actually move the dial here so we can physically drag this yellow dot if you want . And this will also change the filter Resonance. One thing we have here is the format filter. When we change the resonance here that she goes through different vowel sounds So you have Ah, i e a U has changed its back to low pass. Okay, just below. Here we have some modulation sliders, and these allows to actually modulate our filter frequency and resonance based on our envelopes on l A focus and also our midi note pitch which is key. So the envelopes and LFO only have effect. However, if we have envelopes on LFO enabled so you can toggle these on for them to actually have effect. So the envelope is standard envelope A. D s are so attack, decay sustained release and we could even drag these around We can move the dials. We also have LFO low frequency oscillator and we can choose from different way forms. So we have sine triangle square and to random ones first, random one well, actually step between random values and the other one will smoothly go between random values. Let's just choose signed wife and we have delay on attack so this LFO will actually be affecting our filter on delay will actually affect the time it takes for the LFO to start modulating after midi note is triggered. So let's go back to string tub on going to change split from to a bow way we can hear some of the telephone Ah e So the delay will actually affect the time it takes for the LFO to start modulating Onda LFO attack allows us to adjust the time it takes for the LFO to reach its full intensity. You could hear that took five seconds to reach its full intensity by here Double collect to go back to the default We also have telephone rates on your notice When we move this that this sine wave will get a lot tighter than be a lot more of them. This allows us to adjust lfo speed. We can talk all the l A for a rate between hurts and actually Midi sync it to our project. So if we collect this little note here, it will change to note values on this will be in time of our project who put delay all the way down. It should come in instance and same of attack change different rates way too much. Wait for tonight's will not smooth. Okay, so the final section here is the global controls. So this allows us to control how tensions actually responds to incoming midi information. So here we have active which will change the global pitch in octaves. Uh oh. Then we have semi tones which all just cemetery de tune where we can adjust the shooting by sense. Then we have voices, and this allows us to choose how Maney Midi notes can be played at the same time. At the moment, I'm going to play two notes changes to only play one. I suggest if you're playing any cords to not have it in mono. If you're playing more of a lead part. However, with one note at a time, mono could be useful. Okay, going down, we can adjust tensions, pitch bend and this rangers in semi tones and then we have stretched tune. The higher values will make higher notes tune sharper and lower notes will be tuned. Flatter then we have ever, and this allows us to adjust the amount of random tuning per notes so higher values will create more random tuning. Going along. We have priority. Priority tells tension, which notes get priority. So when we have more than one note in the voices, it tells us which one will get priority higher will give priority to the high notes lower and then last And then we can tuggle on a rough unison. And this allows us to choose the number of unison voices. So we have to be playing one notes or four. We can actually choose the amount off do tuning between these voices. Well, uh, just turn this down a bit. Wow. Uh huh. Uh, my Well, well, well. On the delay is the delay between the units and voices. So it's actually the delay between the voices being played. So if we increase the day Uh huh Uh, well, uh huh, Yeah. Okay, then we have port mental. This is only really used. If you're going to be playing in money, then we have the time slider here, and this allows us to choose the glide time between the notes. Then we have Lo Gatto. This will add some gliding, but only when the second note is played before the first note is released. So control this box on enough. So if you play one night on, go to another that being there, gliding for play one, then hold on another. There will be gliding. Okay, then we have a proportional switch here and this will make the glide time between notes that fervor apart longer than the ones that are closer parts. So for playing active whoa. Like time would be longer than if I play, Say, a minor fed. Okay. And the final part is the volume knob, and this is the overall volume for tension. And obviously the quieter, quiet attention will be louder. A lot of attention will be So I hope you find this useful learning about the tension instrument in able to lifetime hope you found this useful. 39. Drum Rack Overview: high in the next few lectures were going to be looking at the drum rack. The drum rack is basically a sampler that can handle multiple different samples, so if you drag over the drum rack, you'll see we get these little pad saw. These allow us to drag in samples. There's also a link up to our MIDI controller. You can scroll down here on the left, and we have up to 128 little parts where we can drag samples or even drag multiple samples to these pads. This is great if you want to add, say, midi effects or audio effects onto the separate pads as well. It's a really powerful tool, the really powerful instrument in ableto lifetime and in the next few lectures were going to be going through in detail how you confuse the drum rack. So if you have a MIDI controller plugged them. If you play any note on the MIDI controller, you will see this note light up in the drum rack over here and also in this Mita the moment we don't have a sample. So there's not going to be and the audio outputs, which is over here, it is quite simple. All you have to do, it's just find a sample, even used one from able to life or use your own audio samples. Andi just going to expand this on just searching the sample here for kick. This one's fun. Just direct this in to say, See one here and now I can preview this. We have the play button or commute it's or consoler wits to find a midi keyboard. You notice that that's not the right note. That's an octave too high. So if you destruct this bynegative two actives actually every day. And here I've been up simpler instrument by the sample us so you can go through and edit some stuff in the simpler and here the audio or like Butts. And it's in a channel strip here. Okay, it's a the moments only this one notes that just go through and quickly build a drum racks . I just talked in snare. Let's find us now. But this will do so I'm just gonna drag this into D. Yeah. Now we can play with my me to keyboard the kick and the snare and their trigger separately . Okay, We can do the same. High hats, percussion, whatever you want. You can even add synthesizes if you wish. It doesn't just have to be samples. I do recommend starting off with samples and you'll notice open the simple F. Each one of these who can change where the sample starts doesn't have to bay. Exactly Starts Andi, just for an overview are quickly show you how you can add effects into the drum rack. So let's just find, say, audio effects. I'll also show you how you can add the's as ascend in return. But for now, let's just add a reverb. So that's find reverb. Just drag it onto the snap. And now when we play the kick, it won't play the river. And when we play this now it will have reverb. Another great tip is absolutely using a MIDI effect, so this will go on before it reaches a simpler because in the changing notice, it will go to the simpler and then it would go to the audio effects with many effects. It will actually go before the simpler, So I'm just going to go to a sample and type in high hat. Let's just find high hat could use part of this here. I'm going to put this on at shop. I'm just going to find the high hat sample here. So you men okay? And now in the playoffs shot. Play this high hats. What we can do, which is quite interesting for a lot of hip hop on trap music is having arpeggio later on the hi hats. You'll notice this sound, I'm sure. So let's go on to many effects on have arpeggio data dragnets onto the high hat. And that's try, say, 16th. And now I'm gonna play this. Have sharp this high hat, it will blow over. And now in the players have sharp it will play it with an arpeggio data. Not only that, we can also drag this on to offer notes as well. So we're going to hold on. Hold on. Copy this Over on on the 2nd 1 I'm going to change this value. Let's try this. Ah, that's try the 1st 1 as on eight. The 2nd 1 as the 16th on going to drag this over again by holding down Holt a shop. This is where I like to have drums because I'm used to playing finger style drums on a deer W's so that kicks normally see snares normally a day. The hi hats, normally an F sharp g sharp a shot, but you can have the drums wherever you want. It doesn't really matter. And the last one Guns changes to 1 24th And now we get this rolling high house, though let's just turn the match no month into a change, this tempo to 1 40 bpm. Because, of course, this is linked to the clock off our tempo. So me just guessing the tempo isn't always going to be correct. Get rolling high. Hatfield. I just playing that on my media cable. Just finger drums. So you get this 18 24th. We can use different patterns. I don't even have to sink if we don't want to become the use, Can you have it free? If you want to get that really crazy sound, you will get the love high hats and even snares in hip hop and rap music. But that's just one quick tip you can dio. I just thought I'd give you a quick overview off the drum rack, so basically you can just drag in your samples. You can change the samples in the simpler you can add on audio effects. For example, in the snatch, this has a reverb. You can also add on media effects before hands, so you can really get some interesting sounds on the next few lectures we're going to dive a lot deeper on. I'm going to show you a lot more about the drum back. So thank you for watching this lecture on. I'll see you in the next one where we're going to continue looking at the drum rack in ableto live 10. 40. Drum Rack - Organisation: hi. In this lecture, we're going to look at actually organizing. Add dramatic At the moment. It can be quite messy. For example, here says hi hats with high hats with high hats with seven wide nine a kits. Naret can look a bit confusing when you look at the straight away All we have to do it. Just click on the sample or part we want to rename to sit Commander now and then. Just rename this. I'm going to call this snare wet because it's got reverb, but you can right click rename going to be called Kick on the High Hats. Amanda. Cool is hats 1/8 because it has. There are PGA this one, Commander hats 1/16 on this one, Commander. Hats on 24. So now I know straight away that this is a snare. That's what I know that this is a kick. No, this is a hats with us. Swivel 18 are pejeta 1 60 That was 1 24 It's going t o rename this hats. Call this free because it has a free rate at the moment. So we've got there on the really fast role that isn't sink to, Ah, BPM. What we could do as well is in the session view. So if you go to the session view and if we have a sample in here, we can also drag this into the drum rack. It doesn't just have to be this session view a session view is normally easier way to work with dramatic. So let's find a sample. Let's go on samples and that's type in Congo. So if we drag this onto on audio track, I'll resume in here. Come, actually finds, Let's find apart. Turn off this quick. Here, let's use this bit here. So if we're right like this and then we go on splits or command a this will split the section, and now we can actually drag this into our drum rack. So here we can see the sample in the simpler can see it here so you can move around here as well. No, to seal select a different parts. If you hit top, let's go back to the drum right here. We can always go back and just drag this and to say a So if you scroll up the drum right here, you notice it will actually have the entire sample here, so we can do is just right click and corrupt sample. Now I just have this sample here. Now, if you play back gay, you have this conga. One thing we might need to do with clips because believe it's playing the kick at the same time. It's a bit low, heavy. We can always add on for your effects. So if you go to Q eight, you contract this on drum back into the conga, and now we can roll off a bit low. So if we just cut off some of the low and now in the play, But I cough a lot of this kick. So if you do about it that low end, which is a kick, and and now we play, we can have the Congo some that low end taken, that you can make you a lot stuff as well. You can also add on, say, a delay if we wish. You can also add this song as a send, which would look at later. But for now, let's just add on a ping pong delay. Just hear what this times like, so we have to use drag it onto here and then in here this ping pong delay. Okay, remember to go back and re named Command are call this Congress. Let's go back to the session view by hitting tab. Okay, so you can start to grieve in some ideas now, so we started to just clean up on just make this a bit more organized. Now you can tell we got the kick groups. Now, that's where that's 18 Tuchman 16. Congo's on these free standing hats. So I hope you start to understand a bit more about the drum rack. I just like to keep stuff organized, so I know quickly what's going on. We're going to look in more detail in the next lecture. So thank you for watching. And I'll see you then. 41. Drum Rack - Tabs: in this lecture, we're going to continue looking at the drum rack, so, you know, it's just we have different settings on the left. Here we have this one view here which will open and close the sample. We'll simple up. Then we have this overview. This will open and close the chain so you can preview each of the samples here on the side . We have a few other controls as well. So let's start with this top on the kick. So we have. We can see the MIDI information going in so I could play it softly, have a little bit of money, information and the harder obviously that's going to be more than we have volume. We have time. Then we can activate this. So contend the track on a rough or solo it or we have this hops. What function so can quickly swapped this force A and over sample. That's it. That's what hot swap again and change to this one. And now Okay, we've got the original kickback. Could do the same with all the other ones. Then we also have this view, which is but Mac Rose macros is bacon basically control different parameters off, say, the simpler the instrument that sample all of the macro, it can be different ones that you can control. Say, for example, the EQ you off the kick on the reverb amount of the snare could be controlled in one macro like a sober. Welcome to macros a bit later on and close these tabs with these buttons here. So that's basically the different views of the drum rack. Thanks for watching. I'll see you in the next lecture. 42. Drum Rack - Sends and Returns: Hello and welcome to this lecture where we're going to be looking at sends and returns in the drum rack so the drum rack has its own built in central returns. This could be useful for sharing the same effect across the drum rack, for example, you could have the same reverb unit shared across different drum sounds right now on the snare, we have an insert effects, so you have a reverb effect. So for play this now you can hear has the reverb. But what we're going to do is actually set this up as a send. So let's just delete this and then if we go to the chain view, which is this button here with the three dots on the free lines, who noticed we haven't s and in our So if you'd like the s and they are your notice, this box appears here that says drop audio effects here. What we need to do now is drop in a reverb effect doesn't have to be reverb. Normally send effects are time based effects like reverb and delay. But it can be any effect that you want. And you also noticed this send a has appeared. So if you're going to stand now, I'm just arrived this up to say, Try 60 b. We play now in here such day using reverb. We could do the same with, say, the kick. You probably wouldn't want to put reverb on and kick, but just for this example, you can hear the river. But that's basically how you set up. You can set up multiple ones, doesn't just have to be one. So let's set up, say, the Ping Pong delay, and now we're going to go in the Congo. Previously, we added, the Ping Pong delay onto the Congo is going to delete that. That was an insert effect. Now let's go back to this ping pong delay here on the Congo. Same again. This time this send be has appears. So contract this. Send be up and I went prepared to conduct. You can head that's picking phone delay if you click on this river. But fact here we can change some different settings as its ascend effect. We do want the wet on 100% some of this delay and now let's play this. Now let's play this conga so we can share different ones say we want tohave ping pong delay as well on this. Now we can just drag this send be up here. There you go. And that's basically it. That way we can share the same effects in the drum rack and it save on CB powers. Well, if you're using a lot of different drums of lots of separate effects, it can be quite CPU intensive. This way you can save CPU, and you can also share the same effect. So fits in the mix a little bit better. So thank you. Watch this lecture all about sends and returns in a drum rack. 43. Drum Rack - Creating a Beat: Now we're going to look actually building some drums and creating a drumbeat. So each of these samples do correspond to a different note, a nominee keyboard. And of course, we can draw this in mid editor. So that's just a quick grieve that I just driven now on. Then we have the different samples, triggering at different times. Wait, don't smooth notice that the tempo decrease increases when I changed This'll is to do with the simple information. Of course, we can change the simpler walked to different settings. At the moment, it's on re pitch. If we change this to, say beats, I could do have all of them Bates. But when we change the tempo now, it will keep the same pitch. Generally, Redrum Z do want their what mode as beats. But the experiment. Try textures. Try every pitch. Try tones by complex as well. Just use what sounds best for the song. There's no fixed rule, but generally beats will be the most suitable for drums because it will try to preserve the rhythmical transients on its underside. It links up. We have the hats, Kongers, hats at spares kick. So if we go back Let's just rename this Congress to percussion. I noticed when we go back on the middle clip, it's automatically renamed this as well so you can just go in and draw parts in, and then it will play back. Same as anything else. Really unable to life. That's a great thing about the drum, right? Can you just quickly see which room is what? I'm just drawing information. Of course you can record it and finger drum style, or you can type in immediately. That's basically how you can draw in me the information with the dramatic. 44. Drum Rack - Sample Layering: Now we're going to look at sample layering so we can lay a samples in from Iraq. So can lay us a free snares together or maybe even free. Different kicks. You could have a sub kick amid kick in the high kick with a snare. You could lay a say in the coup. Six. Now, with synthetics now this way, you can really be for pure sounds. You can give your drum sounds a lot more power. I don't really recommend layering more than free samples. Of course, it does depend on your track. One way of doing this is to quite simply, just find another sample and then just write a midi notes of the same place. So it's going samples. I'm going to type in snap. Let's just drive this on the shop here, and then let's go back to our body information on them for the shop. I'm just going to type in the snap so you have this now here this night here. Now, when we play this play to snares at the same time, make sure it's not clipping because it's a lot of different entrants playing at the same time now. So just make sure levels not too hot. That's one way. So the other way of doing this is to set up a multi. So multi allows you to nest a drum rack or pod that contains multiple samples that triggered by one million. Note. So basically say we play the snare note. We could have this trigger two or free or the many, as you like different samples, so it isn't just after trigger one. We don't necessarily have to set up, say, different MIDI notes so we can delete this midnight here. And then we can set up the same snare sound but triggering on this day, so it triggers to snare sounds at the same time. So this could be useful for keeping your project quite neat. Since they're having lows, a different snare lays up here. We just have one MIDI notes, and it would trigger or the difference now sounds. So we have to do is hold down the command key. We drag our sample notice that this chains appeared this instrument rack, and we've actually got to snare sounds. We've got this one on this one. You can see by the waves that they're different sounds remember, you will have to hold down command when you drive the sample. What you don't hold down command and that's drugs. Say the snare over or this leap. It will just replace it. Now we play. This got rid of all the other ones. So let's just do that. Commands that. And here we have. We have our instrument rack of are two different snaps, and now when we play this neck, you can see it's actually playing both of these. Let's go back to the media information and play this loop again. So let's just click on one of these. And I'm just going to transpose this often active just a little bit easier to hear the two separate snaps transpose is one down on. Okay, so now you can hear the two different Snus a bit clearer. And of course, we can pan these as well. If you want center, we can activate them with the activator button. Weaken solar them. We can also use key velocity and chain like an instrument rack so we could have won snare sound triggered when it's a part of lusty and one trigger. It's softer velocity. We could have a different keys just the same as an instrument rack. We will look at instrument racks in the instrument lecture. So if you want to know more about instrument rack, recommend having a look at that lecture. You can hide it with the high button here, and that's basically how we set up a multi. Like I said, this can be useful if you're layering a lot of different samples and you don't want your MIDI information to get to Messi or or to get a bit out of control, you can do this of Simpson's Well, it doesn't just have to be samples or the simpler for his lecture. I'm just going to dragging. A simple well, probably wouldn't normally do this, but that's just hear what this sounds like. Choose the smell it sound, hold down commands and drag it in here as well. You notice is added to this instrument back, and we click on this. You'll notice the cloud and bells This and lock simp has appeared. So when I play D now the note that will trigger this snare sound, it will play the two snares on this symptoms. E probably wouldn't normally used that I'm just going to delete that. But for this example, you can add since as well as a simpler that contains samples. So thank you for watching this lecture all about sample layering and creating Maltese. 45. Drum Rack - Macros: Hello and welcome to this lecture where we're going to be looking at Mac Rose. So Matt Crows allow us to control several different parameters in our drum rack with one of these macro dials. We get these and all different racks and open up the macros. We just need to hit this button here. And it's quite simple, really. Let's just hit map on this will show in green what can be mapped with the macro. So I'm going to choose transposition for the kick, then hit map over here to macro one, and then we have a few controls. I'm going to change the minimum 20 db and the maximum two plus 24 so it could be transposed up two octaves, then hit map. And then when I move, this macro you can see down here is going to transpose the kick sample in the simpler. Okay, let's try a few other things as well. Let's try this Congress on this percussion, so I'm going to hit map again on transpose this. So I click on this to macro one as well. You can see up here, says transpose. This time I'm going to do it the other way around. I'm going to start at plus 24 on an end at zero, then hit that button and then when they play this Congress is going to be up to active Zangana. It's going to drop two actives. So when the Kicks high Kong is going to be like so let's just play this drum, right? Lou tonight going to move this macro? Okay, we can do a few other things in a different back. Christ, I'm going toe adds a overdrive. I'm going to add this overdrive to the percussion as well. Andi, that's hit map on this dry, wet. I'm going to map to macro to so hit map we have zero is minimum on 100% is maximum. It's going to hit map on. Also, I'm going to add on a filter delay as add this as well onto this conga. And now let's go back to map and I'm going to choose the dry. I'm not this do macro to, as well a case, and now when we move this macro to is going to control the dry amount for the filter delay and also the dry, wet amount for the overdrive. So let's just play this lute now and I'm going to move macro t. That's basically macros. We can use into a sign several different parameters. Whatever lights up green, you can also right click something as well, Onda. We can map it to the macros here by right clicking by before using this map function here because then we get a few more controls. We can have a look out here. We can also in medium up these as well. So if we hit, commanded em and that commit him up this to my MIDI controller, we will need to settle family controller in life preferences. So goto life top left preferences and then go to link committee. Make sure remote is selected. And now we can assign these macros to our midi keyboards. So hit command them and then going to me a dial on my media keyboard on. Then I'm going to slap macro to Andi, have another dial on hit command them. And now, when they play the sleep on the move, these dolls on my midi keyboard, you'll see the macron's move as well. So let's play the sleep, and I'm going to play around with these macros. By moving the dolls on my keyboard, you can always go back and change the dial's. So I want to change this one to a different doll can just slept another one. This could be very handy for live performance. If you want to sign different dials on your mini keyboard, you can set up a load different macros in your drum rack and that way quickly change effects and change different parameters in the simple instrument and also in effects units and also synthesizes all in the drum rack. So thank you for watch this lecture all about macros. 46. Drum Rack - Choke: Okay, Now we're going to have a look at choking the high huts, so choke is a function Lets the drum rack play like a real drama Woods. So when you play the hi hats, you can't play the open high hat and a closed high at the same time because you can't physically do that on one high hat. So what choked does is it stops sound off open high hat one the close high hat plays so it doesn't let you play two samples at the same time. It will stop one of them to play the other. So this is known as choking or choking the high hat. We can do this in the drum racks, So if you want to make your drum sound like a real drummer, you can choke the high hap. So let's find the sample of open hi hats. It's okay. This one will do. Let's just drag this over to F. And for now, I'm just going to get rid of this arpeggio later on this hot here, going to rename this hats as well. So we have the I've been happy on the closed hat on going to replace his clothes, Hat of amore, real sounding one. So we have these two hats here, closed and open. Now let's have a look at the chains circuit. This person here and here we have the chains of the different drums and if repressed, this Iot button and they're just a few more things will appear. You get one here called Choke, so all I need to do is find this open. Hi hats. Just going to rename this open hat and just change joke 21 And this will create a group a choke group and changes hats to one. And I, when we play play, are open high hat and clothes. Once it will stop it straight away. Let's turn off the choke on. Just compare it. So this is without the check. It's still plays open. Hi hats. So always do change this to a trade group, and this will basically stop these samples playing the same times who can choke the hi hats . Let's go back to our sample here. Andi, just going to change some of these. Let's play this loop night. In what way? Okay, that's how we use the choke feature in the drum back Like I said, this is my shoes for four open hi hats if you want to create a more natural sounding high hat sound. So thank you for watching and I'll see you in the next lecture. 47. Drum Rack - Quantization: Now let's have a look how we can use the drum rack for life performance from playing drums . Sometimes it might not always be perfectly in time just because, really, it's a human playing get. We might not always get it perfectly in time, which is fine for a lot of live performance music. So rock music, jazz, music, But for electronic music, sometimes you want it perfectly sync on perfectly quantities on. There is a way to do this in the dramatic life we first need to do is create new clip. Just going to color this slightly different, just something that's different on then. All we need to do here is just have one kick sound. That's it. One kick sound going all the way across. So just delete the rest one kicks on and there we need to go over to this Elberton and then change this to trigger quantum ization has try 1/16 notes on, then turn off loop. Okay, so what this does is this will trigger this entire sample at quantum ization of 1/16 notes , so it's not going to be out of time. We need to change trigger up here to 1/16 and that will trigger on time in the project as well. And then what we need to do is map this so we can map this to a MIDI device. I'm going to map this to a key on my MIDI keyboard. So hit command in em like this on then. I've mapped this to see one. So when they play see one, it will play this kick on When I turn on the Metro name, there will always be perfectly in time now because it's triggering. That's not here. Always be on time for 1/16 notes. And then what we used to as well is drag this over and do the same. But move this to say this. Now you're going to kill this different, and then I'm going to hit command em amid the map. This to another notes in this case, D one. So when they play now, the snare on and the kick will be perfectly in time. So let's just recap that so make sure launch murders triggered so trinkets and plays the whole sample. What's murders trigger? We could change it to gators. Well, I've affair trigger mode, so make sure launch mode is on trigger quantum ization. You could choose any really. I like to use 1/16 notes a match. Sister 1 16 foot here and there. Make sure bloopers off. That's basically it. So now when they play with a metre, name the kick on this natural goodbye, my control. It's going to be in time. Course you still need to play to the closest 1/16 notes, so you could always change this to 1/8 notes. But it really depends on what patterns you wish to create. So that's how you can use the drum rack if you want to be perfectly in time for life performance. 48. Instrument Rack: hi. In this lecture, we're going to be looking at the instrument track. So let's drive the investment rack into a MIDI track. And at the moment, it doesn't really look like anything is, of course, Iraq. And it's kind of a device that can hold and select different instruments. So this can be useful if you're performing life and you want to select between different instruments on your MIDI controller or if you want to stack instruments together to create a bigger sound. So let's get a few different instruments on Let's drag them into the rack. So let's get analog Andi just going to choose I pre set here and just drag it into the rack . And now let's open up the chain by hitting this button here, the free ducks in the free lines on. Then we can drag another instrument into this chain. Let's try a wave table on board. Captive can feed on just driving below. Now that's the wave table, and also that unlocks him. So if I play on my midi keyboard night, let's just turn it down because we are stacking these instruments together. It can get quite loud only that wanted to peek, so we have, of course, volume level here. Pan track selector, solo and hot swap. If you want to quickly swap, he sounds around so you can hot swap again and choose Say, this one here. Okay? And now when I play, it's actually playing these two instruments. So if I turn one off and do the same with never waken put them together. So, for example, we want to pan them. Let's just do hardpan double click to go back to center. So this is how we can stack up instruments. Let's just get in the one on. Just put this below. Of course, you can go in and change the effects of each one of these. The notice. In the mix of channel. There's this little triangle here and here. We can go in and change a few the settings for each of these investments as well. When you click on them, you'll notice that they will change. You can change the volume. We can hand these as well weaken solo. We can click this little triangle and go back to the rack. We have not crows here as well. So say we click our map we could change the filter frequency and map this to macro one. Then let's go on this instrument here. Let's just map the active Say map this to macro one on this one. Here lets map also too active. So it's map this to your macro one as well. Okay, so when we moved macro one, it will move a few different settings for the different Simpson. Of course, as long as I'm Midi keyboard is set up. So if you go over to live preferences, then go to link Midi make sure remote has turned on and then we can map for this too many cables. So if I hit commanded em and I click on this macro one here and I just move one of my dolls on my midi keyboard, I can I map there sto to macro one for life performance. So when I play, there's loads of different things we can do in the wreck. Of course, there is a few other things we can do as well. So if we go over to key, we can do is half different keys, play different instruments. I'm just going to move this over here, so anything above Si two will play this organ. NF in below si two will play this captive cathedral sound And this one here will only play if it's above, say c five. So if you go for somebody keyboard now Uh, you notice a change, Theo Things little lines here we can create fades as well so it can fade These sounds and if we wish, are quite small and quite tricky But we can create these fates. This could be useful for live performance. If you want to swap opted or if you have a large immediate keyboard you could place a a bass sound in your left hand, onder a lead inch mint in your right hand all in the same instrument rack. We also have velocity here as well. I'm just going to put these all back so they cover all of the keys. Let's have a look at velocity. So if you click on ve Al here velocity So so for example, when we play soft, it will trigger the first sound we play between 32 100 will play the second on above 100. It will play the third. We can also create fades as well, like so similar to the key. So when they play a note on my keyboard now, depending on how harder hit it a trick of the different size This could be useful on the third way. Let's just put this back to where it waas is this chain here? So this means wherever this little blue daughters, this is where will play So you can move this over here and have this chain for this one. This change for this keyboard create some cross fades This change for this simple on this chain for the 3rd 1 on cross fades again like so And then wherever this chain goes, it will move onto a different keyboard sounds. This is useful for life performance because we can actually medium up this little chain here, this blue line to say, a dial on their midi keyboard. So I press command. Then I selected this little blue line. Then I moved a dollar on my midi keyboard and now I want to move this dial. It will go for the different Simpson waken Hide this as well by hit and hide. We could just have the Mac crows open if we wants. So if you just close the of us, we just have the Mac crows and then we can go free the Simpson, This dial that I mapped and will say this Mac riddle. That's how you can use instrument rack. You can create a chain. You can go through the sounds with different velocities, different keys. You can stack them together. If you want to make a largest sound. Let's just do that again. And you can also map this to macro. Theo. These instrument rats can be useful for live performance and also for stacking instruments together to make big, unique sounds. So thank you for what? This lecture all about investment racks and I'll see you in the next one. 49. MIDI Effects Rack: hi. In this lecture, we're going to have a look at the MIDI effects, right? So, like any other media investments, we need to direct this before our instruments. So this actually allows us to stack media effects and have chains similar to all the other racks we get unable to live, like the instrument Merak or the effects rack. We can actually drop media effects in here, So let's choose on our Pejeta. If we drop afterwards, it'll no actually going the racks me to make sure we select the rack on drop in here. And let's add another one. Let's try cord on. Let's put this before I'm just going to add on seven semi tones, which is a perfect fifth and also plus 12 which is an active. And now, if I play a note thing you can hear. There's of course, like other effects racks. We can have multiple chains. I'm just going to rename this 1st 1 by hitting Commander are one. Now it says here, drop MIDI effects here so you can add some other ones. I'm just going to choose pitch just dropped this below, and the most are going to choose our Pejeta on. Drop this into chain. So this one second one going to rename this command are number two. This has pitch going to put this up two octaves, which is 24 semi tones on. I'm just going to change this arpeggio pattern to something a bit quicker. So you can really hear theme. Here is the difference between the first chain in the second chain, so you can turn off one of the chains of this track activator de select. It s now you can just hear Chain One. If I turn off the track activator for Trap one, we can hear chain too. Okay. We can also slept with this chain here like the other effects Rex. So we could have chain them a one here and chain number two here and then create Look, fade between them. Similar to that of affects racks like so. Okay. And now you can map this little blue dial to amity keyboard. Just hit command em and move what you want to map it to, then hit Command em. I'm going to move this doll on my midi keyboard and you can see this little blue line here move as well, so I'm going to play a note on move this dial and you'll see it gay between Chain one on chain to see his chain one onto chain to fading in three, we will have to re trigger the note again. You'll notice if I hold the note down trigger again, it will go into the MIDI information. That's because it's Midian audio. You will have to re trigger. It's so the same as of Iraq's Were Velocity, So you could have that say softer velocity will trigger the first chain on heart of lusty will trigger the 2nd 1 That's but this chain back to where it waas just so you contest out the philosophy. Good velocity. If I play softly, it will play Shane one. But my heart. It will play chain to, say McKee. So we could have say the lower notes play chain to the higher notes play chain one player notes on. I go down a few tips. It will play change, too, so that's how we can set up the media effects rack. It's pretty much the same as the other effects racks part from this time it's process in the MIDI information so before it goes to the instrument rather than afterwards. Of course, we have Matt Crosas Well, so we could say right. Click this here map to macro one and let's also change their rate up to picture it says picture. And then if we click map, we can we can go into the map in settings. I don't want it to get that many cemeteries. I'm going to choose zero to 36 hours. Have that. So just, oh, pre actives. Okay, the hit map again, Then all I need to do is hit commander them on, just even if a dial on my medic keyboard on this is medium apt to this. So if I may have a dial on my media keyboard, you'll notice this macro one is going to rename it Pitch up because the pitch up, which are great because it's the pitch and the arpeggio to rate. So for playing that now, and I move this style, uh, we'll have to re trigger the notes because it is many information can hear the pits going up on the rate changing as well. Okay, so that's how you can map. The macro is same as the other racks that the effects racks or the instrument racks is the same. Is that really so? That's the many effects rack, so this can be useful for setting up lows. Different change. You can go between them, and you can just test out different ideas with your media instruments. So thank you for it's in this lecture, all about media effects, Rex, and I'll see you in the next one. 50. Simpler - Sampler Overview: Hello. In this lecture, we're going to be looking at the simpler instrument. So you find simpler in instruments. It's here, just below sampler on. Let's just drop this onto a Midian treatment. So the simpler is an instrument that integrates the basic elements of the samba, but it does actually have some of its own synth parameters to so, unlike the sampler, simpler actually allows us to slice and time warp our samples so we can play them back differently and create something quite unique. So you have two different tabs here we have the sample tub on the controls tub the sample tub. We can quite literally just drag a sample into here. So my desktop I've got a vocal acapella, unless just to rack this into the sample here can see it. Loads have the start points on the end points of the sample. We have a few different options here as well. We have a filter on. We have an envelope as well. The A. D s are you also have a low frequency oscillator. We have different modes. We can actually play back and chop up the sample so simpler has free different modes. Classic one shot and slice So classic mode is the default mode on. This really acts like a traditional sampler, so we can also loop on if you play back on embody keyboard. Oh, thats really waken change to start points to say here. Okay, on this classic mode, Every time you hit amid icky, it will re trigger sample. Then we have one shots, so one shots is a mono mode and this has a more simple on the loop. It just has fading on fade outs. It doesn't actually support looping this one shot mode. This mode is normally used for drums, but we're going to go into these three different modes in more detail in the future lectures. This lecture is more overview off. The simple instrument on the third mode is slice, so this works a bit differently. This will automatically slice our sample into little bits so you can play these back on amity keyboard. When I play different notes, we'll play different slices. This will allow you to make some really creative music in this slice mode, so this is really useful for vocal samples like this. So that's a basic overview off this sample interface in simpler. We do have the controls tab as well, which we will look at later on. So in this lecture we've covered the three different notes and how you can just drag in a sample and start using simple A straight away. The next few lectures were going to be looking at the different modes. Classic one shot and slice on. We're also going to be looking at this controls tab. So thank you for watching this lecture on. I'll see you in the next one. 51. Simpler - Classic Mode: Hello and welcome to this lecture where we're going to continue looking at their simpler instruments. So now let's have a look at this classic mode. I actually loaded in a shaker leap you can hear this night. Let's have a look down here. We've got the game. First of all, office they from or increase the gain allowed. It's going to be for DoubleClick. Go back to zero db. Then we have to start. So this is where we can change the start of the leap, can actually adjust the sample where it starts and finishes with these triangles. Here, the Mickens slept a percentage of where the loop actually starts. If you look now, we'll start a triangle on it, loop around in the loop section and we can change the lamp as well. With this presented here, double click, it will go back to default. Then we have fade if we want to uncertified. So this is a flip selected Kentucky. This on the rough and snap will remove pops or clicks. So I normally just leave this on all the time. Then we have voices, which is how many voices or Midi notes can simply play at the same time, Classic mode is polyphonic, so we can play more than one voicing at the same time for something like a vocal sample. This might be better than rather than the drum samples. So that's just drag this vocal sample in thistles. Me playing free notes at the same time. Yeah, this one eyes free. So is polyphonic. Let's go back to the shaker. This is actually being walked. So we in turn, walk on off then we have re trigger here. So if enabled notes that are already playing will be re triggered So this can be useful if you don't want the sample to overlap itself. So going down, we have the standard A DSR controls which will allow us to shape the volume of our sample. Over time, you control these with the knob, start here, or we can actually go into the controls tub, which we will be looking up in another lecture. If you do want to change it in the control star, but you can change them in this visual display here notice it will actually change these knobs as well On the right. Over here we have a few different walk notes so you can talk a walk on the roof of this button. You notice that a few different settings will appear. What actually allows us to sink our sample with the beat clock of our tempo, So the beat now is 99 beats per minute. So if I walk mode on, if you notice we play higher notes, it will be a lot faster. If you play lower, notes will be a lot slower. If you have warp on, it will sink to the beat clock of our temple, so if you play alone or high, it will be the same tempo. So this is sink 12 tempos. So if we increase the tempo and play, the same note will be the same pitch. Obviously, it's thinks the tempter of our project. If you want a natural sounding loop. Of course, we do have these different walk knows, which can help. But generally, staying close to the original tempo will make it sound. Most natural can choose several different walk most down here, so you have beats, tones, texture, re pitch complex and complex PLO, so beats works best with rhythmical based samples or drumbeats. So is actually designed to preserve the transients. So let's click on beats. You'll notice when we turn. What on the rough we have preserve mode on envelope appear. Preserve actually allows us to preserve some of the sample without extreme warping so we can choose transient, so preserve the transients or we can actually choose a beat division. Normally, transients will produce the best results. But if you do want to choose a beat division, you can choose one of these fixed values. Then to the right, we have mode, the one at the top of the arrow on the line. This is the offsetting. So if each segment that's played, it will go to the end and then we'll stop. This can be quite choppy, but it can give a interesting effect. The 2nd 1 with two lines. This one is Look forward. Let's compare this to the 1st 1 This one is the 1st 1 where it's off, where it will actually play each segment and then stop, compared to the 2nd 1 where it will actually looked forward. So each segment will play until the end, and then it will look forward on the last one. Is Luke back, So this will look back and forth. Now each segment place to its ends on, then loops back and forth. You can get some interest in stutter effects with this. Let's try a vocal sample. Uh, let's just try the different transit notes. Uh, change this to try eight nights. Oh, it's a lot clearer, and it's a lot easier to hear these different modes now. Uh uh. Then we have transient envelope, this E N v. So this allows us to add a small fade out off each segments, so this will actually avoid any unwanted clips or pops at one hundreds. There's no fade and will be most fade at zero. Oh, go through. And if you hear any clips or pops, remember, you can always add envelope here. Let's have a look at the next walk mode. Here we have tones. Tones is best for pitched instruments. So, such as vocals or any of the type off Monta Phonic instrumental sample. So you noticed the promises have actually changed. Now we've gone to tones. We have grain size here. Grain size allows us to adjust the tiny segments That's simpler, actually chops our audio into Oh uh, you can hear when you really slowed the sample dime. Different grain sizes. It's quite hard to hear when the sample is now This regular speed. We're a faster speed over when you slow it down. Oh, you can hear all the different grain sizes. Okay, now let's have a look at texture. So texture really works best with samples that don't actually have a defined pitch or tone . So this could be pads, maybe some ambient pads or noise. So this is me playing record on displaying one. No, because this is pitched. It might not necessarily be the best mode, but I do recommend exploring all the different walk modes and news, one that sounds the best. Okay, we also have grain size, so it's similar to grain size for tones. Grain size is for the tiny segments that simpler chops their sample into. It's similar to toes, although in texture mode actually chops the sample up into unaltered segments. Oh, so if we slow it down ah ah! Um, let's put up Teoh holiday here. That many grain sizes, the speed If you double click, it will go through the defaults. Okay, then we have this one here, which is flux. So flux actually allows us to introduce some randomness into our grain size. So the more we increased this more randomness we will get. Oh, let's have a look at the next what mode, which is re pitch, which keeps the samples at the same pitch when triggered. So if you play or notes on the Notre knocked of low playback at the same pitch, this'd me playing different notes on the medical board playing back. The next mode is complex, so this mode is designed for samples that contain a lot off complex material, so could have tones and beats. So let's go back to the shaker and try to complex so this mode can be used for. Like I said, for more complex audio samples, however, it is quite CPU intensive. On the last mode is complex probe, which is similar to complex. But yet this is also very CPU intensive. This may give a better result in complex, though I d recommend going through all these different modes. I'm just having a look on exploring what they do for your sample on the left of complex pro . We do have four months so this allows us to quickly adjust the tonal quality off our time strapped sample. Let's go back to the vocal sample. Change this to complex pro on a slow this Ah, you can hear it does adjust the tonal quality. Oh, setting this to 100 will preserve the original four months as much as possible. And then you can change this just by going down on up. Then we have envelope. So this will also allow us to just the turn of quality about time strapped sample. Theo. Interest in sounds interesting tones with four months on envelope. If we double click, it will go back to the default, which is 1 to 8. Like I said, this can be quite CPU intensive. So just be careful when you're using complex on complex Pro. You notice I was hitting halftime and double time, So if you want a halftime the sample double time to sample, you can use these buttons here. You can get some really crazy results when you re slow it down or speed up the recommend going through in having a look at some of these. If you want small, experimental sounds, we really want to manipulate and change your sample. Okay, so that is the classic mode. In the next lecture, we're going to have a look at the one shot mode in the simpler. So thank you for watching this lecture on. I'll see you in the next one. 52. Simpler - 1 Shot: Okay, Now let's have a look at the one shots. The one shot mode is mainly most suitable for drums. It is mono phonic, which means you can only play one million note for one note at same time. On there isn't a loop function similar to before we can choose where we want our sample to start on end. Then we have gained here to make it louder. Obviously quite a double click to go back to zero. Then we have trigger on gate two different modes here, Trigger will play the entire sample. Even if you let go off amid, you know it will trigger it on. It will play the whole thing. This is useful for drums. So, for example, you trying to make a real sounding drum kit When you hit snare, you want the snare to ring out, no matter how along the Midi notes actually held four. So I'm just going to tap the media. Don't now. I tapped it and let go play this whole sample. No matter how long the sample is, we'll play the whole lots. Gates on the other hands will only play depending on the midi information. So if it's happen now. Then we have snap, which is similar to before, which, if we have a look, it will create a small cross fade, and we'll just get rid of some pops and clicks. So I just leave snap on all the time you notice here. We don't have a DSR controls, but we do have a fade in on the fade out. You can see the fade in in the fade out will actually appear on here, so it's similar to attack on release. Like I said, one shot is normally most useful for drum sans, so you can play a sample just by hitting the media note quickly, and we'll play the whole sample. So if you have snares set up, if you have high hats, crash Cymbals, that kind of thing, would you recommend having a look at one shot? Same as before. We have their preserve have the mode, the envelope on the different walk notes similar to classic, but there isn't any 80 s l controls as a fade in fade out. We can also transpose a sample here. Then we have volume two velocity, so this allows us to choose how much of our samples. Velocity can be modulated by midi note velocity. Then, of course, we have the volume for the simpler going down here as well. We do actually have a filter. We can control this in the sample interface. Or we can go into more details for the filter and the controls interface in the sampling to face weaken, toggle their filter on a rough. We have five different filter, Moz. We have low pass high pass, one pass notch a morph. We can choose the slope 12 db 24 db We can have clean or we can choose some of these circuit types. So we have S R M s to S and P and P R d. So these actually emulates unlock circuit types. The clean is the same as what's in able to lives equal rights on the other circuit types Like I said, they emulates on log circuit behaviors, so that emulates unlock filters. Of course, we can choose the frequency on the resonance. It was quite a typical filter and of course we have that in classic mode one shot and then slice mode. We have the filter and there is the LFO as well low frequency oscillator. But we'll be looking at the filter and the LFO in a bit more detail when we go to the lecture on the controls. So that's it for one shots. Thank you for watching the next lecture we look at slice. 53. Simpler - Slice: Hello. Welcome to this lecture. Now we're going to have a look at the slice moat, and the first thing you'll notice is when you click on slice mode. Able to live will automatically at these different slices are at these lines. Well, that's done. It's actually sliced up the sample, and now you can play this different slices on your MIDI keyboard. Of course, you can drag these slices around or double click to get rid of them, but if we go on a midi keyboard, you'll notice plays these samples. This is generally more useful for, say, vocals or something a bit more melodic, so I'm just going to drag the vocals in. Dio makes a really interesting sounds and effects of this is really fun to play around with slice mode. It is money we can change this to Polly or Free depends on what you want. A lot of this will be mono phonic. If using vocal samples, of course, explore and try new ideas. Then, of course, same as before, we have gained. You have Trigger or Gates Trigger will play the whole of the sample slice, no matter how long you hold down the midnight for and gate. We'll just play depending on how long they hold the 1,000,000 it for you. Pets trigger place the whole of the slice of the sample. Like I said, you can drag these slices around that have to be exact place. But that's where ableto automatically defaults from two. We can slice by transient beats so you can choose the beat region, the division that the moments on quarter notes that eighth notes the transient is the main peaks. The main transience off the sample on beat like a settle slice at the Beat division that you choose Beat might be more useful for slicing up drums rather than force a vocal sample . Let's drive the vocals back him. Of course, we have region as well, or you can choose how many regions that we want seek have all the way up to 64 on Drop it all the way down to two. If you wish, the manual will allow you to manually type in where you want the slices. Let's go back to transients and here we have sensitivity. So this allows you to choose how sensitive simpler is to the transient levels within the sample on how many slices will automatically be created. So if you drop this, you'll notice there's last slices would increase it. Will b'more slices. Do you have to go through on your mini keyboard and find the actual notes? It's a lot easier to find if there are more slices. Okay, then we have playback mode. You can choose money. Like I said, if he wants just one note played back at the same time. Polly allows us to play multiple slices at once. And if we set this to three, freeware allows to set one slice at a time like mono. But it will play the sample through to the sample ends. So instead of stopping at the next slice, it will play free. Yeah, yeah, yeah. Don't know. Okay. Same as before. We have preserved mode envelope and you can choose the walk mode. Okay, so that is the slice mode. Thank you for watching. And the next lecture we're going to be looking at the controls tub in their simpler 54. Simpler - Right Click: before we look at the controls tab, I'm just going to quickly go through some of the right click functions. So if you right click on the simple hit in the sample, you have a few different options. The 1st 1 is managed sample. So if we click on this, open up in the ableto editor. This is quite useful. If you can't actually find the sample or you want to swap the sample, okay, then we have shown finder, which will show in your Mac Finder using PC. It will have the PC equivalent. Then you have normalized volumes, So this allows us to maximize the loudness of our samples, and then we have crop samples, so this will allow us to actually corrupt the sample. This could be quite useful if you're working with a really long sample. That's right, click crop sample and it's chopped. Anything before this flag on after this flag have reversed sample, which will obviously sample. Then we have sliced to drum rack, which will actually sliced its sample into the drum rack. Let's click on this and then I think this has been reversed, sliced into the drum rack pretty useful. Just ended that. And if we go on slice to new MIDI track, so this will create new midi tracks, So preserve this one. So this one here we have the simpler on this one. We have it in the drum rack. This is probably more useful for drums, so let's drag this in here right click slicing humidity truck, and then once these are, this is useful. If you want to use this in a drum rack, we also have reset slices, which will reset these slices. So that's the right click functions, I thought. I quickly show you that before we have a look at the controls tab. 55. Simpler - Controls: Hello and welcome to this lecture where we're going to be looking at the controls tab here . So this allows us to explore in further detail the filter, the LFO and also a pitch envelope. Let's start with the filter Weaken Tuggle on or off the filter here, and we can either change the frequency or resonance similar to the sample control. Or we can actually drag this around here in the visual editor, we have the five different filter types we have Low pass high pass band passed notch on. Also more. When you hit more fuel, get a new dial. So this will actually more between the different filter types, which can be interesting if you just want to quickly go through and explore some of these filter types just going to drag in this vocal sample. I'm just going to go to one shot and then trigger set plays the whole sample. When I play in Midi notes, let's go to controls on here. We can morph between different filter types, change the frequency on the resonance, and then we come off between the different filter types way Wish thistles Good to just quickly audition some of these filter types waken Choose the slope 12 db 24 db Oh, you can choose clean or RSR, which is the analog emulating filter type. If we go back to my bus notice, we have more different fields types we have clean, which is the same as in the E Q. Eight and then we have more on log emulated filter types. So these were add maybe a bit of gain orbiter distortion. They might add a bit of warmth that might change the tone slightly. So maybe go through these. Explore these different filter types as well. Then we have velocity percentage. So this allows us to modulate our filter frequency relative to the MIDI note velocity. And then we have key percentage, which allows us to modulate our filter frequency relative to the midnight pitch so we can change this in percentage. You can also click envelope here. She will bring up our filter envelope so you can tell the filled envelope on the rough. I felt enveloped consists of that a DSR controls which we can control up here. Or we can just drag some of these dots around and they will change the controls up here as well. That top is well, we do have the filter on below amount. The amount allows us to control the intensity off this filter envelope modulation. Just going to change this back to classic. About two controls on increased the amount. Oh, uh, faster attack. Do you go? Okay, let's have a look at l A foe Beacon Tuggle LFO on the rough We've got different wave type Sign square triangle sore. We also have a random as well. You can adjust that LFO in hurts or in a note percentage which will obviously sink it to the clock of our project Have different things We can modulate with the LFO because much like the volume, much like the pan. Oh, much like the pitch which might sound a little crazy e much like the filters. Well, if the filter is turned them e Okay, at the top we have lfo attack. So this is the time needed for LFO to reach its maximum intensity so we could gradually introduce the LFO we have this are here which is for re trigger. So if this is on our telephones, way form will actually reset for every midi note that's press. So let's just I have reset smooth. He'll continue through the telephone, can change the offsets or where we want the LFO two starts and then we have key. So 100% our telephones rate will increase relative to the pitch of our income in midi notes . Like you said, you can't use that. Uh, way says telephone. Now let's have a look at pitch envelope over here. So picture envelope allows us to modulate our samples pitch over time. So we have the typical a DSR attack. Two cases stay in release. You can direct these around. We can change them here. No way. That's 10 of telephone. Uh, at the top, we have pitch envelope amount. So this allows us to choose the intensity of our pitch modulation on. This is in semi tones. We can choose amplitude down here or we conceal that pitch. Then we have a few global controls down here, pan random to pan so random to pan will add some randomness to the global pan position transposition, which will transpose the sample in semi tones or do tune which will transpose incense then we have spread so spread will actually create a stereo chorus effect it will use to de tune left and right voices per notes. Oh, let's just turn off the filter. Oh, it's increase the spread. Oh, and the free back to zero. Oh, you can hear it just sounds a bit wider with this chorus effect way Use spread. Okay, then we have velocity to volume. Here we can choose how much of our samples volume can be modulated by the note velocity. And then, of course, we have glide where we can choose to different glide Moz Portmanteau glide So glad will provide us with, um underfunded glide on port aumento will provide us with a polyphonic lied that we have glide time which is the time with a length between the glide transitions The case of that's the controls Come through the picture envelope LFO on da filter So I've just inserted the shaker Let's hear this with the pitch envelope increase the might Here with semi times you can hear. Obviously there's some modulation compared to off, so recommend going through and exploring the simple There's so much stuff you can dio. It's a very interesting sampler. You can quickly go in and start sample. Um, so thank you for watching these last few videos all about the simple 56. Sampler - Part 1: Hello and welcome to this lecture where we're going to be looking at the sampler instruments. So if you go on to inch mint on the side and click on sampler here will open up sample. Oh, it's a more complex version off simpler, and it really allows us to have a lot features when sampling our instruments so it has a wide range off modulation. It allows us to create completely unique sounds in this sample. So Samplers Interface has six different tops zone sample, pitch, oscillation, filter, global modulation and MIDI. This stone tub here will actually bring up a new window. We're going to look at this a bit later on. We can open and close this just by clicking this sewn button here. That's first start with this sample tub. So this area here is where you can drag you'll samples in. So I'm just going to get a sample from my desktop and let's grab a based on literally. All we do is just drag it in. Of course, if you have your samples in able to live already, you could just access them here, or you can just drag them from your desktop and hear the waves will pop up We can play back our bass sound So if we hit a note on our midi keyboard, this will play the bass sign Way have quite a lot of playback controls here. First of all, we can move this arrow. So this is the starting point of the sample. Compare this to the larger wave with stop and we also have the ending. Our example Sample will stop with this arrow here below. Here we have some playback options. For example, we have a reverse tuggle Here we select this. This will play the sample from the right to the left or will reverse the sample. We can talk about this on the rough. There's also there Snap toggle here. So the snap toggle will get rid of any clicks or pop she might get from this sample, especially when you're looping the sample. So what it does is it automatically snaps the way for Andi. Create some cross fades to avoid any pops. Up here we have the sample name. This comes up as the name of the sample. This is useful when we're using multi samples. So when we have several samples loaded can quickly identify what sample that is on down here. We have the root key to this root key is C. Here we can choose the route key. You'll notice that the octaves change when I changed the route key. So let's put this back to see free. This route key is where the sample will play back at its normal pitch and speed than every other note is actually adjusted. With the sampler going along, we have a D tune slider so you can do to our sample by sense. Double click. Okay, then we've got scale or tracking scale. 100% means a sample pitch will change. As the MIDI note changes. Zero means the sample plays at the same pitch. Whatever midnight you play. So right now on 100% I'm going up five notes on Daddy's five nights change this Tuesday, right type in zero. I'm going to get these five notes and down these five notes playing different midi notes, however, playing the same notes. So let's put this back to 100. This could be useful if you're using drums and say you want the same drum sounds no matter where you play the drum on the keyboard, but for any harmonic instruments, like a baseline or piano parts, you will want the scale on 100%. Okay, then we have the pan. If we want in the sensor, if you want on the right or the left uneasily pan here, double click to go back to center. Then we have the volume of the sample. You can see the ways get bigger or smaller as we change decibels. Double click to go back to zero, then we have sample starts. This basically does the same as dragging these arrows here, but we can do it his numbers as well. If we want, we can just use these arrows and Dragway wants the sample to start on to end. Then we have sustained mode on release mowed down here so these modes can offer some looping options. Sustained mode lets us choose how a sample will act when it's in the sustained part of our volume envelope. The first toggle button is no sustained loop, so this won't actually sustain. This means the sample stops at the end marker or when the volume enveloped finishes its release. Even if you're holding a key. The sandal fish. I'm holding a key now I'm still holding it. It's finished, but I'm still holding the key. So there's no loop here. The second mode is the sustained loop. So this will create another set of Marcus and we can drag thes toe where we want the loop. So once we get the loop and position, we will loop around this new set of arrows. So I'm going to hold down a note now live round. Until that go when I let go, Luke finishes Andi, Let's just drag this of its smaller leaps, right? That's the basic loop for the sampler. The next one is back and forth. So instead of the sample going from the start to the end than the start to the end, it will go from the start to the end and in the end to the start. This is back and forth. Okay, going down. We have released modes, so the default is off. So this is basically how a sample at when it's in the release part of our volume envelope. So the release default is set toe off here. Then we also have this one which is release. So when we let go of the notes are sample bypassed the sustained mode of our loop and we'll go to the sample end. The next mode is released loop. So this gives us a new set of controls here. So when we hit the sample end marker, we will loop around this new section. Of course, this does depend on your volume envelope, so it's not releasing as you think it might. You will need to go back and have a look at your volume envelope which we will be looking at later on. And then we have back and forth release as well, so similar to the sustained where it goes back and forth. This release will go back and forth as well so we can drag this around to where we want the release loop. So we have the loop start here. We can either drag this with the arrows. We can put the numbers in here as well and we have the release sleep. We have a cross fade, want to create a cross fade like so I want to blend this in a bit more, and we also have de tune for the sustain on the release modes, then here we have into poll. So this is a menu that allows it to choose accuracy. Off are transposed samples. It's a global setting and it can use up a lot of CPU power. So if you have it on best or good, it can use up a bit more CPU. I've normally just leave this on normal and then below this, we have this ram button here, so this will make the samples play for your ram rather than from your desk. So if you have enough ram on your Mac or PC in this setting can improve your performance and up here as well, we have this arrow. This doesn't affect the volume. It just magnifies the wave on below. This we have both mono left, right? So both will be stereo. The left right channel mono is just one channel left is the left channel and rights is the right channel. You can also click and drag of our mouse or touch bad to zoom in on the sample. You also right click on our sample so we can manage the sample or show the sample in the finder said to show the location of our sample in the browser and able to life we need to manage to sample. And here it will appear and able to life. And if we right click on shown finder, it will show the sample and I find their library on a Mac or PC. If it's on the PC will actually say show in, explore on D on the Mac, it says show and find her. We also have normalized volume, so this will bring the peaks of our volume to the highest volume. Also, adjust the volume in the volume slider. To there, we have normalized pan, which will adjust the pan controls on will adjust the pan to the equal volume across the left and right channel. Then we have corrupt sample, so this will corrupt the sample between the sample start on end, Marcus. So this is useful if you're dealing with a really large sample re long sample and you just want to use a certain part of the sample and that will actually save the original sample. This creates and saves a copy off your original sample, so it'll save the corrupt sample as well. So this is useful, like a step of longer samples. And if we click here, we have a few different zoom options. Also consume out Simenon played regions assuming on sustained loop. Or we could just drag on zoom of our knives or track pad. So that's the sample tub in the sample. Join me in the next lecture where we're going to be continuing looking at the sample instruments in ableto live 10. Thank you for watching. 57. Sampler - Part 2: Hello and welcome to part two. Where we going to be looking at the pitch, tapping that So in the top left Here, you have a nice later. And we can tuggle this on or off here. And this allows us to modulate our sample with this oscillator so you can choose F m or A. M. FM will modulate the frequency off the sample on a M will modulate the amplitude off the sample on the right of this, we have some playback controls. We have attack, which is the time it takes the envelope to travel to the peak level. You could even drag this around here, or we can move across here. So this is measured in milliseconds. On seconds we have initial above, which is the starting level. So contract the supple down and you can see the starting level here. Or we can track this yellow box here. So this is the level before the playback. Then we have decay. So this is the time it takes for the envelope to travel from the peak level to the sustained level. You can drive this box here, then we have sustained, which is measured in DB or decibels. So this is the level that stays as we hold down the midi note. So once we let go off the midi note, it will actually go into the release stage. So this is the time it takes to travel from the sustained level to the end level. So that's the release so sustain to end. This is measured in seconds or milliseconds. Okay, We can also look this so the oscillator could go around the loop. You can sink it to the beat, weaken, sink it to the BPM clock of our project. We also have a pitch enveloped down here. We have a similar kind of thing. We have the attack two k release. So this allows us to actually control the slope for these different stages. And we have the amount here so you can choose semi tones. You'll notice huge difference there. So that's the pitch, Chamberlain. So you can drag the attack could do the same of the decay it sustain the release. Just direct this around or we can use the boxes here similar to the US later above going along. We have a time to velocity slider, so this will much like the duration off envelope relative to the incoming note velocity. So if you have a high percentage of the high note velocity, this will make our envelope stages longer. And if we have a negative percentage on the high velocity, thats well short enough envelope stages. So we do have a loop box as well. Very similar. We have a few different options, So this will make our envelope loop. So I'm just holding down the note once you can choose beats as well so you can choose the beat repeat amount on sink as well. So this could be good fun when trying to manipulate your samples in sampler. We have repeat here so we can change this to beat mode. Like I said before on this is Well, envelope will actually repeats at the selected beat time on the beat. Time is the time it takes for the envelope to go from the current level to the peak level for the B. It won't be Kwan ties to our BPM clock, but sink well. So if you want it sink to the clock off your project. So here it's 120 beats per minute. I recommend shoes in sync. Okay, up here, we can actually choose away form type have signed sore square triangle noise and then we have volume appear Choose a different way vessel. Let's just turn off the loop for the picture. Made some We could move some of these oscillators around that saw. Let's try square. We can get some really interesting sounds with these different wave types. Let's change this to a M amplitude. So this will give us a different sound to the FM if you choose. I am. This is a M on this is FM. Then we have velocity to volume. So this will control the volume All the amount of modulation relative to the midi note velocity coming in below this we have some shooting coarse or fine, and then we have some more tuning here as well. You can also toggle on the roof fixed, so this will allow us to choose our own frequency. If we want to choose our own frequency on multiply will multiply the frequency. If we change this to I am on turn on fixed. This will correct kind of a tremolo effect. So going back to the pitcher envelope this amount here is actually the max amount off pitch change that can be created by this pitch envelope. So, like I said earlier, we do have a similar kind of envelope controls here. But the difference is this is done in percentage rather than in decibels. I really enjoyed playing with this pitch envelope. It can make a lot more fun when you create in your science. Okay? And on the right here we do have some global controls. These are related to the pitch envelope. So the spread slider here, this will generate to de tune voices on will create kind of chorus effect. So this can use up a lot of CPU power. Just be careful how much off this spread you actually use. Then we have transposed, which will set global transposition de tune, which will be a global ditching. So we can transposed in sense rather than in semi tones. Then we have said and chef Sochi zone shift. So this here will actually transpose midi notes in the Keys own editor. We'll talk more about the keys own editor a bit later on when we look at the zone tub. Okay, Then there is glide so this will allow us to glide smoothly. Between notes, you can choose glide mode or port aumento. Try glide, glide in between notes. Thank you. It's a glide mode will give us a mono fonet glide. So this is useful when you're playing one note at the time. So for like vocal melodies or melodic parts, this is very useful. Then there's Port Aumento. This will create a polyphonic glide, so this is useful if you have many notes playing at the same time. This glide feature is useful if you want to change the pitch of the sample while it's playing. Okay, that's the pitch oscillator tub. The next section. We're going to continue looking at the sampler in ableto live tapped. So thank you for watching this lecture and I'll see you in the next one 58. Sampler - Part 3: Okay, Welcome back. Let's continue looking at the sampler on. Now we're going to have a look at the filter Global tab. So here we have a filter on the left. We can turn this on the rough with this filter Tuggle and we actually have five different filter types. So we have a low pass high pass, one pass notch on a more filter. Let's go on low pass to start with, and this will basically filter out a lot of the high frequencies and will allow the low frequencies to pass. So here the low and puts out a lot the highest. So let's just move. Let's just go back to pitch in isolation and I'm going to turn off this oscillator on pitch envelope on Go back to the Filter Global. We have different circuit types here, so clean is the highest quality circuit type on. The rest of them are actually analog modeled circuit types, so these basically emulate old analog filters. And if we choose one of these were have this Dr Slider appear here, so this will allow us to add a little bit of input gain to the signal before enters the filter so there's basically adds a bit off distortion. We can also control the slope so we can choose a 12 db slope or a 24 DB slope. We can also select their frequency cut off rates by dragging this little yellow circle or by choosing the filter here and the same with the resonance which basically adds a boost before the filter cut off. Okay, below this we have velocity percentage. So this is a percentage that will modulate our filter frequency relative to incoming midi note velocity. And then we have key percentage which will modulate our filter frequency relative to the incoming midi note pitch. Okay. And to the right of this, we have a filter envelope. So this filter envelope will modulate the filter frequency over time with this filter envelope. So we have the amount slider here. So this will give us the amount off modulation zero is off. We can add more. That goes up to 72 so we can choose the attack decay release. Or we can just drag around these dots here. This will change the attack on the decay and then the release. You can also set this in a negative value. So this basically adds movement to our filter frequency. So below this filter on this filter envelope, we have a shaper. So this is a wave shaper. Have you Kentucky? All this. So this way of shape allows us to basically add some distortion toe our sample. You have four different curve types. Soft, hard, sign on four bit. Let's choose hard. And then we can slap the amount way total this off His sign, Let's choose for bit gives a slight different distortion sound. So this amount dial here will control the intensity off this distortion. We have this triangle here on Beacon slept it going up or going down. So triangle pointing up. This means the wave shaper or feed into the filter. You know, on if we click on this triangle going down, this means the filter will feed into the way shaper here is very different. Uh, so if you want to distort your sound and then filter it, I recommend pointed upwards. If you want to fill to your sound and then distort it, I would recommend having the IRA go down. So this will add a few more higher frequencies if you distort afterwards. Okay, The section on the right here. This is a global on the light volume. So this is the amplitude structure off our output signal. So we have the same envelope controls as you're probably used to. Now we have a tactic. A release to stay in and peak. We don't however actually have an end value because the n value will be silence. We also have a global pan slider. You can return this to center by double clicking. We also have pan random. So this will add randomness to the global pan position. Ah, if we double click, it will go back to zero. We have a time slider here, so this time percentage will shrink or expand all envelopes inside the sample. Then we have the time to key slider here. This will shrink or expand all envelopes relative to the midi notes pitch so positive value and higher midi notes. This will lengthen the envelopes and lower midi notes while this is positive will shorten the envelopes. Then we have voices. This allows us to choose the maximum amount of voices that sample a can play. We have this list are next to it as well. This are is a re trigger button. So when it selected and you're playing the same notes closely together or the sample still playing, sample will be re triggered rather than generating another voice. So if you have a longer release time, it's useful toe have this on. And it will also save on CPU power on above this On the left, we have velocity to volume. So this allows us to modulate the global output volume relative to the midi note velocity. We're only register these velocities if it's set to 100% though, so normally have it set to 100%. So above this is a volume slider. So this is the volume off the global outputs and this is it. This is the filter Global tub. I hope you're founds this lecture useful. Join me in the next lecture where we're going to be continuing looking at the sample instruments in ableto live 10. So thank you for watching and I'll see you in the next lecture 59. Sampler - Part 4: Hello and welcome to this lecture. We're now going to be looking at the modulation tab. So here we can add some more modulation Valuable envelope and free Allah foes on the left to be have nor axillary envelope. We can turn this on by talk going on what says Orcs? And down here we also have a on B. This is where we can modulates. So we have all these different destinations. So all we have to do is choose one and then have one on the amount slider. So I'm going to choose LFO rate and then we can slept the amount on this slider here you will need LFO one actually toggled on to do this because after Allah, for one rates and lfo one needs to be toggled on for me to do this. Okay, let's turn this to offer now Let's just have a look at these free different telephones. We can toggle them on a rough Same of the auxiliary on the lip. So what we need to do to actually trigger these ella foes is to make sure that this oscillator is selected on on the pitch oscillator Tab lfo one here we can choose the different types of waves we can choose hurts or weaken beat Sink this to the clock of our project Then we have lfo attack time So this is the time it takes full LFO to reach its maximum intensity. You could also change the upsets of this will create a different starting point for the l A phone and then we have re trigger. If you want to read, trigger the LFO If we have re trigger on, then LFO offset will allow us to manually change the starting point Then we have keeper centers down here. This will make the l A foes rate increase relative to the pitch off the incoming Midi notes 100% makes the higher notes increase. The rates of the LFO are lower notes will decrease the rates Then we have the void in percentage down here This will give us our intensity off LFO modulation on our global volume level Same with the pan and same of the pitch. If we have the filter turned on in the filter global top, we can do the same for the filter. So lfo one with you to make sure the volume is up for us to hear the modulation on the telephone on. What I'm going to do now is turn off the filter and turn on this oscillator. Now, when we go back to the modulation, you can hear this LFO We increase it, we can beat sink it. So just make sure this volume slider is actually selected so we can hear this lfo lfo one allows us to quickly add some low frequency oscillation onto our sample LFO two and free. They allow us to modulate specific parameters are slated to and free do offer controls for a Antebi. We do have two different stereo modes here, so we have the phase mode on the spin mode. So when I change face to spend, this box changes from phase to spin. So phase mode allows us to offset the position of the telephones from left to rights. So this creates kind of a panning stereo effect on spin mode allows us to offset the speed off the L A foes. So if we increase the face in this this stereo phase mode, you can see kind of offsets Andi For the spin mode, you can see kind of Ah, squishes this wave. It makes it go a bit smaller so we can create some different effects here. We can make one of them run 50% faster than the other. That's why it goes up to 50%. I can select down here what we want. This LFO two actually effect. So I'm going to choose volume. Let's change this to beat sinks. Let's increase this amount and you can hear kind of fast tremolo style effect. Let's changes to hurts and let's choose Bia's well, that's true's pitch. Let's increase this amount as you can obviously hear the LFO on the pitch so you can get some really crazy effects. We can turn on LFO one as well and also LFO free all at the same time. If we want some crazy sands some actually modulating the rate of LFO one with LFO free says lows, different things Who we can dio with these telephones? I'm just gonna turn on LFO one for now. Of course, we can turn on this of envelope here. We can change a few things around as well, so it's very similar, Like I said earlier to any of the envelope attack decay sustained release. And this is basically how we can use this modulation tab in sampler. So thank you for watch this lecture where we talked about the modulation tub. Join me in the next lecture where we're going to continue looking at samples. So thank you for watching. And I'll see you in the next lecture. 60. Sampler - Part 5: Hello and welcome to this lecture where we're going to continue looking at the sample instruments in ableto live 10. Next up here, we have the mid it up. So this is things like key velocity after touch, mod wheel, pitch, bend foot control. So this allows us to actually choose destination a on destination, be so you can add further controls so we can add some intensity. So I'm going to choose the mod wheel. Andi, I'm going to get that to change the pitch right now. We do have all this modulation from the l A. Focus. I'm just going to turn off LFO here and go to Midi on going to increase the amount off the mod wheel on. Now, when I move the model whale on my body control, you can hear it changes the pitch. So this destination A and B on the amounts just allows us to add even more controls to our sample with our MIDI controller. So if you don't have a MIDI controller, you can actually do these in the midi clip. So let's go on to the media clip. That's how Hide the zone surfer. Click on the video clip here. Then I click on this arrow, but in here you can choose the envelopes, and here we can actually modulate these different parameters so you could choose filter on . This allows us to turn the field on or off. So when I play a notes now on a hit the space bar to play through the clip, your notice the filter will turn on and then we'll turn off as it goes through this clip, there's other ways of doing it without a MIDI controller. Of course, you don't have to use the filter on. There's a few different ones you can choose. So even de Chu nets so we can go through and de tune part of it. And when I hold a no impress play, it will actually go through these different modulations here. If you don't have a MIDI controller, you can just type in the notes in able to life. And there's somebody Controllers might not have a modulation or pitch bends so you can do it this way as well. Okay, lets go back into the sampler and this is basically the media tab how you can add further controls when using MIDI data or a MIDI controller The next lecture, we're going to be looking at this zone tub, and this is a really important section. If you want to use multiple samples if you want to use more than one sample zone tab is a fantastic way of doing this in sampler. So thank you for watching this lecture all about this Midi tab and join me in the next lecture where we're going to be looking at the zone tab. 61. Sampler - Part 6: Welcome back. We're now going to look at the zone tab. So when we click on zone top, it will open up in a new window, which is actually re sizable so we can change the size of this if we want as well. So Zone Tab introduces multi sampling. So previously we've been using one sample to play back a single sample, but multi sample allows us to load multiple samples into the sample. So this allows us to play this back dynamically over free, different zone editors. So we have the key editor, the Velocity editor on the sample Select editor. So the Key Zone editor will play a different sample based on the MIDI note Pitch or keys for Lost in their editor will play a different sample based on the MIDI note. Velocity on the sample selector will play a different note based on this little toggle up here. So based on this blue bar, Okay, let's go back to Key and now we can add a few of our samples, so I'm just going to drag some from my desktop, and now I'm going to add several different basins. Let's just choose a few of these Just trust them in and here we will have a lot these based sounds playing. So what we can do is if we just want certain bass sounds. This is more useful if you've recorded a real life instrument like piano or say maybe a guitar where you have different notes. So with the piano sound, you might not necessarily want the same piano across the whole keyboard. Say, someone's recorded higher notes and lower notes. You generally don't want the higher necks stretched all the way lower. If you want to create a realistic sounding sample for Simpson's, however, you might get away of stretching these. But for this example, I'm just going to use some Base Simpsons, okay, and this one here. So whenever we played this note here, This'll 19 Sample and Fok Lo trigger this 15 sample. If I go lower again, trigger this sample here on even though again will trigger the original sample. Forget higher trick of this sample. We also have these little green bars above which will create fades. So we've actually fade between these samples, if you wish. So this is a fade between the different bass sounds. So is really how we can load multiple samples. It doesn't just have to be based sounds. It could be. And the whole year, really, we could do the same of velocity. So say we play the note very quietly is going to trigger this one. Play the notes really hard. Try this over. Drives the fade over as well. This fatal czar quite small. If I play hard now, it's gonna play this second sample before pay soft. We'll play this first sample. That's basically the key and the velocity that we have select so we can drag these around and it depends on where this blue bar actually is. If the blue bars here is going to play these free samples, if it's here, is complete. It's four samples. We could just move these around by just dragging which samples we want to play. And this is all map herbal. We can map this too a macro, or we can map this to a dial or a knob on that body Control as well. We can hide or show zone. Spect look in the zone tab here You can also right click on a sample. Have you can choose you should be arranges equally, and this will distribute these ranges in the equal fashion. Same of velocity. You can right click, distribute ranges equally and say McKee distribute ranges equally. You can solo these as well, if we just want to hear one of them. So, me playing now because I'm playing there's no up here. It won't play it for played down well, but you can't actually hear it because of the velocity as well. So be careful when you have key and velocity, because one of them won't work unless the other is. Before I drive this philosophy over and now we play, you can hear the note, so be careful when you're slept in these that the key and the velocity don't actually council each other out somehow. Same with the slept at all. If the slits tools over here, it's not going to play the notes. But this. Let's tools here. It will play the notes so it can be quite complex when you're going through and you can't hear sounds, we're not sure where the sounds are. Remember. These are all separate. That'll work together, so you have to make sure they all will lock in together to get the sound. However, this zone tab is generally more useful for instruments like a piano. We have different notes, but it can be very useful for life performance as well. It kind of works like a rat. You can toggle between different samples if you wish. I also recommend naming your samples as well. You can rename these quite easily going rename or hit command are or shift off if you on the PC just so you know what the samples, I can click on them. When you do click on them. You can see the waves of each so you can tell there are different samples here. We can actually group this into a drum. Rackers. Well, right Click and then go on to group to drum rack. Here we could open up, Say a macro on the book. Also Go on selector here. Right click map the micro one. So we never removed Macro one. It will move this dial. Then we can hit commander them on. We can map this onto so Darla Midi keyboard if you want to do that as well. So when we move the down that many keyboard, it could move this also, so there's actually quite a few things we can do with this stone tub. It really allows us to select multiple samples, but it does depend on what you're trying to achieve. You just want one sample. I wouldn't recommend using the zone tab, but if you want tohave, say a melody were certain notes triggered different samples, you could slept these and have them in key or different velocities of notes. The harder hitting notes for softer notes trigger different samples. You could do this in velocity, so that's it. That's how you use the sampler. In able to live 10 we have to sample the pitch oscillation filled to global the modulation additional many controls here and also the zone tab if you want to use more than one sample . So I hope you found in these last few lectures useful. Thank you again for watching this section all about the sampler in able to live 10 62. Operator Synth: OK, and now let's have a look at the operator synthesizer, so this is actually probably the most complex since we get unable to live. That's because it's an F M sent for frequency modulation synth compared to traditional synthesizer, which is subtracted synthesis. So subtract this emphasis is you getting oscillator, and then you subtract the sound of a filter. So sculpt type, maybe some of the highs or some of the lows with a low pass or high pass. But this frequency modulation, since we have four separate oscillators on the side here on each one's actually routed into the ever. And this can create really complex home because she changed the order, these Aaron as well. So there's a B, C and D at the moment is right it to be, and that's right to see, and that's righted. Today we can really modulate and change these sounds around the way we have these set up says there's loads of different ways we can actually set this up. There's actually 11 different ways, but we're going to that a little bit later on. So the first thing you notice is this display section here and then we have the shell on the rights on the shell on left on the left, we have four different oscillators. A, B, C and D on the right. We have an LFO. We have a filter. We have a pitch envelope on. We have global settings. You notice the display actually changes when we click on these, and it's actually separate for these different oscillators as well. So say, I'm just going to move this envelope like that and let's go on bay You notice has changed. So we have a different display for each one of these AIDS items in the shell. So let's have a look at Oslo's A first of all. And like I said, the way this is set up, it's be controlling gay and see controlling Be on, then D controlling see click on the global settings. Over here we have these little dots, and that's the order. It's in these crazy dots up here that might look quite confusing. This is basically how you can change the order. So let's choose this one here so we have yellow, which is a getting controlled by green, which is B, which is being controlled by both balloon on the orange that's being controlled by sea and day. So it's basically just the order. Weaken Set up these oscillators in which order there in which one's control on which we've got 11 different ones. 123456789 10 11 and they will have different orders. I recommend going through. All of these are not going to explain them all and just listen to the difference that they're controlled. So let's go back to Oslo to a and here we have course, fine level and fixed. Okay, so let's look at course. So it's actually a ratio, so it's not in semi tones like a normal sent. It's a ratio, so 1 to 1 will be the same pitch. Then if we have 2 to 1, this will be an octave above Frito. One will be in octave in the fifth, 4 to 1 would be to actives and five toe one B two actives in the major fair that we could go down to 0.5, which will be one octave lower. So I'm just going to play the same note on my MIDI keyboard now and go to one. Here's guard productive and go to two. She's gonna productive from the previous note free to one which is an octave in the 5th 4 to 12 actives five which is 5 to 12 octaves in the Major Fed. Okay, lets go back down to one. Then we have fine, which goes from 0 to 1000 and this is the span of one active so we can use this to de tune You want to de tune though I recommend not going to fire up because it does span the whole locked If level is obviously the output level and fixed lets you change this to fix notes so we can choose the multiple multiples here. GOP quite look down quite a lot, but it fixes the frequencies and playing multiple notes on my midi keyboard and still out putting the same note. So no matter what Midi information you press, it will just play this fixed frequency. Let's go back to unfixed and then we have B, c and D. So now it be is going to control a Let's give this some gay. Let's hear now this is a much more complex tone waken change the ratio here as well, really complex tone, and we can modulate control this with C now recruiting a very complex tone and same of day . So we had quite a simple sine wave before to start with. Now we're carrying the really complex tone as well. Modulate and add on these frequencies, so let's get up. Q. Eight. Let's have a look at some of these frequencies. I'm just going to drag on the U Q. Eight. See Elise different frequencies here. Let's turn them all off and go back to a sine wave. Just one frequency there really had on be more complex mawr tones here. More frequencies. I don't see even more Seymour. There's this low ones appeared on. Then add on day evil, more complex. So we're creating more complex tones, not just the beginning. Ready. We can choose the wave here. We could even draw in their own harmonics. So now the notice have drawn in a lot more, so it's a lot more complex than just a sign. We have the signed here, which is this line, and we've drawn in the rest. I don't even more, and you can see as we draw them in they appear in the UK I realize this toe drawing some crazy, complex tones. You can hit us kind of get gritty. Now just all of these frequencies to can make a really crazy sounds. You can choose the waves here sine square standard ones noise, but we can also have its user, which is really interesting, drawing our own ways. Let's just have a look at sore. You'll notice we have a few more that goes down that soar free, then saw six. Obviously six saw 16 is 16 so it gets more complex as we go along. This is a really, really complex synthesizer this Let's just just an overview of how to use the operator simply could have an entire course just on the operator synthesizer. So going down here, we have their different parameters for this oscillator. If you also slightly envelope as well hit this button, we can have a separate envelopes each one of these oscillators. So we're just gonna slow down this attack time so it takes longer for this note to commend . You can see in the e que these frequencies creeping in slowly that we have a faster tap time jumps in straight away. If you have beyond as well, some really crazy sounds, so we can never change the attack time here or in the Decay release. Then we have a filter standard filter. She's the frequency here on the resonance she'll give a little peek before the filter cut off, have a steeper filter or less state filter with 12 and 24 choose the filter type on the analog type filter. She's a fills type, low pass, high pass band, pass notch, standard filter stuff. Then we have a pitch envelope. It can be quite fun as well create some really wacky sounds at this pitch envelope. Then we have the global setting, which has few global controls. The most interesting one is this. Hear with this order that we can actually set the oscillators. You'll notice now if I if I have to note size different to this one. So the order actually makes a huge difference, and this is only two of the escalators on if it but all four on and then go through this can hear this order really changes the sign, so that's a quick overview. Off the operator synthesizer is the FM sent very complex since and this global settings there's a lot more global controls we can use as well. But this let just just an overview how you can actually start to understand how to use this . FN synthesizers. Also this LFO standard LFO You can set rates under the mounts. Let's just have this on a also to a and you can hear the elephant. You can choose the wave type you can have re trigger. You can also choose the range. That's no view off the operator synthesizer. Thank you for watching this lecture. 63. Electric: Hi and welcome to this lecture. We're going to look at the electric instrument in able to live. Tap electric is basically an electric piano instruments. So here's the default Santo default. Seven, to be honest, is pretty good already. Well similar to, say, a fender Rhodes or other electric pianos were actually has a mallet on a fork and a damper going to go through. All these are in this lecture. So first of all, let's have a look at Mallet over here on the left. So the sound does. It would go from left to right, have the media information and then go through the mullet, the fork, the damper at the pickup global. And then we'll go into audio. So the mullet, first of all, so this is the stick or the hammer. So it's the material that's used to produce the silence. That's the hit. And then going along, we have the fork where it produces silent. Here we have two types of the fork. We have the time on the tone, and then we do actually need to dump in the sound. Now the mallet has hit this fork to produce a sound. It will just resonate continuously forever. So we do need to dampen it. The dampener will actually stop the sign because when we let go of the keys, we want the sand to actually stop. So this is where we can control this with the dumper. Then we have the pickup going along. We need to actually amplify the sound. This is the pickup. So you can can and control stuff like distance of the pickup. How close the pic appears, which will give us distortion, things like that that would go to global settings. And it will send this to muster track or wherever output is set to. Okay, so that's an overview off the electric instruments. Let's go into these five different sections in a bit more detail now. So festival is mallet here. This first knob is stiffness, So stiffness. If we increase this, it will give us a tighter sound. If we decrease it, it will give us a softer sound. So let's just increase this. You'll notice it's a tighter sound. And if we decrease this notice, it's a softer side. Okay, Getting along. We have force. So this is the force that the smell it will hit this fork. So we increased the force. Increase it, Mr. Force off hitting the fork. Okay, then we have this section here. Noise. So this is the noise off Hit off the mallet itself so you can turn up the volume off the noise. Here, you can hear this clicking sound. That's the sound of the noise. And obviously we can increase will decrease the pitch of this. Increasing the pitch off, hitting sand on decrease in the pitch off the hitting sound decay is basically the left the way along. The decay obviously increased this so going down, we have key. So this controls how much off the incoming data is actually affected by key. So the pitch off the MIDI notes and then we have velocities. So that's how much off this data is actually affected by the velocities of how hard you hit the notes. Okay, going along that we have fork on the fork is basically what the mallet hits. So this is what will produce the sound. So the fork is actually a metal fork of two bars. Do you have time on over here, tone? It's the time actually gets hit by the mallets and that gives vibration to the tone which will start to resonate. We have a few different functions here. We have color off the time. So this is the color off The sound way have to Keio level. I can hear it a bit more obviously, when we increase this level, if we double click will go back to the pre set off 50%. So the vibration off this time it will start to resonates. And then it's responsible for the tone or the key. So after the mallets has hit the fork, the time sexual more go to the tone section and here, similar kind of thing. We can change the decay this time to release fast release. So impressing the keys about the same faster release, quick release, decay and of course levels. Well, okay. And then we have key to that controls how much off the volume is actually affected by pitch . So after the fork, we have dumper. So this will actually control the length off the notes. You can turn up or down the volume off the dumper with here level. The dump actually has a certain signed of itself. You can hear that clicking sound now when we turn up the damper. When I turned down a damper clicking sound goes so the damper sound is a typical sound. Your gets with an electric piano that kind of clicking the dumper sand. You can change the tone of this. Just increase the level for now, you can change the tone off this clicking sound and going along. We have attack and release that this has nothing to do with the envelope. This isn't the attack and the release of the envelope. So this will actually effect whether the clicking sound, the damper sound is start or if it's at the end. So if you move it all the way to the left, Clifton sounds with starts won't be hitting that. If we move it to the right, you notice when we let go of the keys clicking sound is at the end. I would just double click to go back to the default, which is 50% okay. And now we've produced the sound. We need to kind of record the side. We need a pickup so the pickup is actually located in front of the fork and it has its own parameters. The 1st 1 is symmetry, so this determines how high or low is positioned next to the fork, so it gives us a different sound. If it's lover, then if it's higher, so if we turn toe left it will lower the pickup. And if we turn to the right, it'll bring it up. Okay, Next we have distance notice. We get a more distorted sound. Move it closer, then if we move it forever away, okay, then going down. We have inputs on outputs. So if we drive the import of the pickup more, we will actually get more distortion. That puts is that part of the level. So if it's zero, well, we will hear no sound more volume or more sound as we increase this, make sure you're not clipping. We can control this with the global value. But there's one more thing down here in the pickup. We have two different types. We have our end of you, so these are basically two types of pickups, so we get to choose from a static or dynamic pick up way. Have key. So this is the level of the pickup. How much of this is influenced by pitch off Midi notes. Okay, and then going along. We have the global controls. Of course we have the volume which will control the volume off this instruments and then we have voices. So what's the maximum number of voices we might want to have anywhere from two. Because this is electric piano normally going to play chords. So is going to play Polyphonic Lee all the way up to 32. If you want to have a two first two voices, then we can control the pitch and semi tones or D tune. Then we have stretched. So this will allow the higher notes to be true and higher, and the lower notes to be tuned lower than we have Pitch Bend to this controls how much Midi the pitch bend will will actually control. If you have a pitch ben wheel on your MIDI controller. So that's the electric instruments in able to live. 10 is really great. If you want to create electric piano sound, have a few difference presets as well. I recommend going through a few of these, so we're Lee Marin, the piano really classic piano. This one's pretty nice. I recommend going through these and just working out how this actually works. Just remember, it's a mallets that hits a fork, gets dampens. Then there's a pickup to pick up the sound. So thank you for watching this lecture all about the electric instrument in Mableton, Lifetime. 64. External Instrument: in this lecture, we're going to be looking at the external instrument, so this is useful if you have an external instruments. So you basically don't only want to record mid 81 to record audio from an external instruments. Sometimes when playing audio, you can naturally just play out of time. Because we are humans. However, there is a way to actually record midi information and then actually, Kwan ties a move this money information and then record it into an audio track. So this allows you to get a sound from your external device, but also toe have it playing in time. This could be useful if you're making electronic dance music and you wanted to be perfectly in time. Of course, some drummers of music like jazz or rock. You might want a bit of human elements and that you might want it slightly out of time. But with a lot of electronic music, it is quite important to get it perfectly time. So what we need to do is drag on external instrument onto a midi track, and then we need to connect our inputs. If you have a USB on your external instrument that is the easiest I'm currently using. Ah, Mike Record Excel, which has a USB. If not, you'll need a MIDI interface. So Midi interface allows you to send that MIDI information from this simple to your computer, and then you will connect your interface via USB. However, a lot of Simpson nowadays do have a USB, so this is the easiest way to control it. On our external instruments, we have a few different options here. We have this one here that says a midi, too. So here we have a few different options. You can choose MIDI Act or sand, but before we do this, we need to go to a live in the top left on, then go to Preferences and then go on Link midi and make sure we have the MIDI out on the soundtrack enabled on remote enabled because this will allow your MIDI device to send signals to able to life, and also for us to hear this through the output. So make sure these air set up track on remote, and now I'm playing my micro cork itself. Nothing's actually happening. If I change this midi to to say midi out, you can see here on channel one. There is some midi information. If we change this to sound, you can see there is some information as well right now, however, we cannot hear this. The track is armed. You can see here. This red dot is armed. If we go down, who will have to change some of these settings around first of actually hear this synthesizer. Okay, so right now we are getting many information. However, we cannot. Here they're synthesizer. What we also need to do is make sure this synthesizer is plugged into your audio interface . So right now I have a two channel audio interface. I'm using a focus right to I to channel one. Input one has this microphone I'm speaking into right now. You can see when I speak here that there is some audio on input to is the Michael called Excel. So I'm going to select Channel two now. I wanna hit a note on the mic record. You can hear this keyboards playing If I stop sounds. You hear the sounds change. Okay, so now we're getting midi data from the keyboard, and that's getting converted to audio with this external instruments. So you can hear this instrument now. So what we need to do is record in this midi data. So we have a few other settings here. We have the peak. So this shows us the peak volume we have gay. And if you want, you want to make it a bit louder on. We can change the Layton. See here. If we do have any late late insee issues, we can also change the latent see by going to live and preferences and then go into audio on here. We can increase the buffer size if we are experiencing any latency. Okay, Now let's just record this ends. So make sure this track is armed on. Then I'm going to tell on the Metrodome on Let's just record in apart. Okay, that's it. I used the Pittsburgh will as well and to enough the match. No, man, let's click on this. And here we can see this midi information. It's not quite in time a good hit command a and then command view just to put it in time. Okay? And that's kind of it. Really. That's how become record in the Midi. However, now we want to send this media to an audio track on then we can record in this audio because this is useless by itself. Just midi information. Want to record into audio because we're not going to have this cable plugged in the all the time. Of course, we can just bounce this out as a track right now. You could Francis's audio, or we can recall this into an audio track. I'm just going to drag down this box, and here we have audio from on. Let's choose external inch mint here. That's turn on monitor on here. We can see the audio is coming through. It's going to turn there must output down of ever. So make sure monitors on so we can hear this back way. Get audio into here and then make sure that audio goes to the master. So already to do is choose external investments, and then you can choose post mix or on then pre effects post effects. Post makes it doesn't really matter right now and make sure monitor is on and then we always do is arm this track and then hit record. Make sure this external instrument is playing notice here. It's recording in this loop as this loops round around notices recording it. And it's also recording it in with that pitch Ben wheel. Because I'm modulated this medium fresh changes MIDI information with this pitch bends on its processing. That's well, which can be really useful. We can delete this money information now and now we have our audio. So if we go back and we just put monitor to Auto on, let's play this back, we can hear our audio now. I'm just going to turn the monitor off here. Andi Now let's just stop all the clips on going toe arm This struck again. I'm going to choose a different sound from my micro cork Excel. Let's choose this one. I'm going turn the match name on and I'm going to record this. Okay, just up. Let's stop that on. If we double click, we can have a look at some of the MIDI information here. Actually missed the Covington. But what we can do, which is pretty cool, drag this mini information over. We can actually just drag in our own media information, just going to put this in time. And if we hit B, we don't have to play in live, weaken type in whatever we want, which I think is pretty awesome. They hit bay, and that's just play around with these little bit. This might not sound amazing because I'm playing in quite fast. However, it will recorded him the case. We've got as many information now. Same again. Let's find another slot here. Arm this audio track. Make sure audio is selected to external instruments. Let's tell on the monitor on audio to Master. And then all we need to do is just hit record that blank space here and then just play this media information in this will get sent to this audio track, and this will record it conflict on this. We can see this audio is getting recorded now as we speak, and it's looping round around as this many information loops around around. So let's just stop this. Stop all clips on Now we can actually a turn militar to auto. You can see these purple clips appear. It's direct this onto this audio track here and now when we play this backwards, drag this down to a separate section is playing the two parts. So there we go. That's how we can record in external instruments in able to live 10. It's really simple. Just drag in an external instrument into a midi instrument. Make sure you have sound selected on your device. Appears here. If your device does not appear, make sure you find it and set up in the preferences. Choose the Media Channel. Choose audio from make sure your audio interface that plugged him and then we have a game. Now we have some latent see on, then recalled this into audio track so audio from choose external instruments on that's basically hit and then just record. The most important things is you need to have the external instrument set up via Eva USB going into your Matt bark or PC or you need a MIDI interface. This 1,000,000 surveys will converted to USB basically, so if you have older synthesizer, you may have to invest in a MIDI interface. If you have a newest emphasize that generally these will have us be, it would be easier to do. But some interfaces do still have midi, but a lot of them will not. And then, of course, you need to have the audio being recorded into an audio interface this can be quite complex , but that's basically how you conduct. So I hope you find this lecture useful. If you want to record in external instruments, you can do it this way. Sometimes you can get some nice sounds from some synthesizers that are not included ableto life. However, we do have some great Simpson in able to as well, but there's no harm in combining them both. So thank you for it in this lecture on, I'll see you in the next one. 65. Impulse: hi. In this lecture, we're going to have a look at the impulse instruments that's under instruments. Impulse. We obviously have a few different presets we can use here, but we're going to start off with the defaults happened. Let's just drug impulse into a midi instruments. And here you'll notice we have these different slots here. So Impulse is basically a simple and powerful drum machine that's included in every version of life and along the cross. We have thes eight squares, so each of these eight squares hold a sample and you can click on the little launch button to hear a sample. But right now you'll notice there aren't any samples, and also these samples are mapped to your MIDI keyboard, starting on C free. So if you play see free on that midi keyboard, it will trigger the first sample. Andi. As we go along, it will trigger the other samples so triggered from C three to C four. So the cup one white note at a time. So let's just go along on drug in some samples. But first of all, let's go along and look at some presets and look how they actually do it. So if you just click on these, you can preview there. So let's click on this one back beats room and just drag it over to impulse. And as I press see, you can hear a kick D you can hear snap e never snare F another snap G Tom. Some percussion on a high hat on Be on the right symbol on C. Okay, so we can actually go along and build our own sound. So I'm just going to delete this. Let's delete the whole thing. I'm going to create the impulse instrument from scratch, but I do believe it's better to know how to build your instruments from scratch. So let's go on samples. Andi against type and kick. This one's fine. Let's direct this over. And then when we play, see kick will appear. Make sure the volume is not too high. Well, the game is not too high or it might pick. Okay, Now let's find the snap. You have to have it in this order. Let's just see. Is this bomb? Now we have kick on a snap. Okay, let's just add in the hi hats. So it's driving this sample. The notice the samples actually, quite long. I just wanted the high heart sound. So this is really better with one shot samples, Robin and loops. Just type in hats Here. Here we go. Here, someone, shots. Let's track this in striking this one as well. 38 Because I wanna have a open sample as well as a close sample. You notice here when we click on these samples here, this one has a link. So let's slip link here, because when we play when you play this open, hi Hats is linked to this closed high hat, which basically means it's going to choke it. So when they're closed high hat on the open high hat play at the same time, it will turn enough. It'll stop the open. Hi. Hats like like a real drum kit would. Okay, so this is what we've created now, of course, we can add in a lot more drums. The nest. We cannot Him four more. But for now, I'm just going to use this kick this now This closed high hat on this open Hi hats. Let's go along to the kick. We have actually independent controls for each one of thes samples. First of all, we have to start parameter so this actually allows you to choose where on the sample you wanted to start playing. So for dragging this along you know this. It's playing towards the end of the sample. If you put it back playing at the start of the sample. Okay? Transposed transpose the sample. We can choose up or down 48 semi tones. Then we have stretched. This allows you to stretch the sample out so we can stretch it out. We could make it tighter. Then we have soft which will soften the sample. This could be good. If you've got harsh sounding samples, then we have a few of the things here. We have velocity. So this allows us to modulate the sample by velocity. When we increases velocity up to 100% you can hear as we hit the key hard or soft, it will actually change trans positions. Some hits and got hot. And I and soft, it's going lower on the higher same a stretch. If we put this up to 100% the velocity will affect the straps. So for play it softly, it's going to be quite type partner. It's going to be more stretched like this. Then we have a random. This will allow us to at some random transposition, depending on how hard we hit the night. So if you hit softly, there won't be much random. If you hit a harder that will beam or random, we have two different modes as well. Mode A. And, of course, mood be mowed. A is good for lower frequencies like the kick drum. A Moby is better for higher frequencies like the snare or hi hats. I'm going to leave this on the mode B going along here. We actually have a filter. We can turn on a filter for each one of these samples, so we have to tackle the filter on the raw fear. But just before the filter, we actually have this SAT, which is saturation, so you can basically just add a bit of Dr or overdrive to the sample. Maybe not that much about their, perhaps. And here we have the filter so you can turn the filter on a rough. So we have different filter modes. Low pass, band pass high pass a notch like a typical filter. Let's choose low pass. Let's just drop the frequency you can hear is cutting out some of these higher frequencies as we drag it up, bringing back the higher frequencies. You want a little boost before the cut off. We can do this with the resonance and double click to go back to default. The default will just open up the filter. Let me have a velocity again so this resonance can be controlled by many note velocity. So far, play softly. There won't be much residents of a play harder. There will be a lot more resonance. Okay, same of random way could and more runnin, depending on how hard we hit the media note velocity and then going down. We have trigger mode on gate mode, so trigger mode is played depending on how long the midi notice or how long you hold down. The note on your keyboard on gate mode will play the whole sample. Then we have decay. If you want to add some decay, I want to make it regards a bit more. Then we have pan off stage once upon this and we can change the pan information fire velocity. So the hard we hit, the more It'll Pan. Let's just increased this up to 100. Play hard and soften. If you have headphones on listening through speakers, you can hear the velocity and same a random. There we will beam or random pan hard. We hit velocity and they won't be hardly any random plan. As we play softly, okay and then going along, we have some global controls. Volume time on transposition time will actually make the sample shorter or longer. I think this will effect all the samples because it's the global one. So affect this kick, snare and hats. We can get some interest in effect. Obviously, if we decrease the time sounds completely different. Global transposition will obviously globally transposed these notes here. So going along, we have mutes on solo for each of the tracks, and here we have, of course, mute and solo beacon. Do it down here with these buttons as well. That's basically it weaken. Trigger them by hits in this play button. And yes, we could at mute on some of them. So that is the impulse is a drum machine. It's a bit different to the drum wreck. It's still offers individual controls for each instrument, which can be quite useful, is great. If you like finger style dreamin, you want to go through and drum like that? The next lecture. We're going to actually look at setting up a multi output for this impulse drum machine. So thank you for it's just lecture just about the impulse drum machine and how you can quickly dragon urine samples and start playing the drums on your MIDI controller. 66. Impulse Multi-Output: Hi. In this lecture, we're going to look at setting up multi act puts in the impulse instruments. So the impulse is basically a drum machine week and drag in your own samples and have controls over some of these different samples independently. However, if you want to have multi output where you can add different audio effects to each of these samples, I'm going to show you how you can do this in this tutorial. That's first of all, create some new audio tracks we can go up to great aunt Hit and said, What do you track? Or we can just hit command t a few times? Okay, Now I'm going to rename these so command are actually going to rename them for these different investments. So we have kick, snare, open the high hat, closed high hat. So let's hit Commander on. Let's choose kick, then Bandar snap and then command R C. Hey, chase closed high hat and then Commander Oh hh open high hat. To hear these tracks as well, we will need to actually change monitoring to input monitoring. And right now we can hear my voice coming through here. So any change order from on and you just choose it here to any holes and then in below, we can choose which, in its judgment hair just another monitor. Okay, so we need to choose impulse here and then below. We can choose the certain instruments. So here we have kick drum. So when I play the kick drum now, with months around, you can see it come through here. There's not coming through this channel anymore for players Mare, the snares between previous balls, channel kicks coming through this kick channel and same for the snare. We need to change order from that choose impulse and then the one below. Change this to snap and make sure monitor is in on the clothes. High hat, same again impulse. But this time that's choose. He hates hats. I believe that's the open one on change monitor, too. Same with the closed impulse on drop down box below this one. The 38 ones and change monitor to now we have set for a channels for each of these drum hits. The reason you might want to do this is we could add say reverb. So we have this reverb send set up so just to rack this over. Now we have river for this now, but not for this kick. We can drag on the audio effects as well in the kicks. Say we want to add several Look, maybe a compressor so we can drag on compression onto the kick. Increase the ratio. Drop the threshold. You could 10 down the wet suit, get parallel compression. And so you get a mixture of the compressed single on the non compressed single. This is basically how we can create a multi up for this impulse instrument. We might also want to group all this. Let's just select all these tracks by holding down the command button on then right click and let's go on to group. We can hit the key command command G on the Mac. Now this is old grouped. Then we have to hit this little button here on this will open up the individual tracks. Say you want to go through and turned down this now could do here. You could also do it in the impulse instrument as well. If we wished Well, hit this little button here, going to impulse. And here we could turn down this narrow as well, if we wished so you just go on to click the staff on Just turn the volume down here. There's a bit easier having on separate mixes here. One other thing we could do is we could actually leave the kick on the impulse just to make it a bit neater soup that command. Are we named this to kick? Let's just delete this kick warm. Now we have the kick on the impulse instruments on the snare, the clothes high hat on the open, the high hat on separate channels group. But in here, we can rename this command are cool. Let's I am drums and post rooms. There we go nice and neat. And if we want to open up on change a few things around that save, let's say send the single to this DeLay unit as well on this. Now, of course, we will need Teoh recording somebody information. Same as before. Just click on the kick, which is actually the impulse instruments. And then we need to record in somebody information. Okay. And then just the book, like on this you can see the information here, select a little, command you to Kwan ties, then needs off a bit sort out. So just the two bar loops. I just drag this leap back to Buzz. And then there we go. We have our information here, gay through and so on and say we want to I don't know e que the closed high hat, for example. We could go on to audio effects. Let's choose CQ eight on DSO You want to roll off or a lot of the base? Just do this and then we play it back. You can hear the base is rolled up from the clothes high hat. So that's how you set up a multi output in the impulse instruments. So thank you. Watch this lecture and I'll see you in the next one. 67. EQ 8: Hi. In this lecture, we're going to be looking at you. Q. So he accused. I used to actually change the frequencies off a signal. So this might be because you want to help attract Fitim of the mix. Or it might be that you want to make a sound be a bit more interesting. There are actually two types of youku. We have a graphic EQ on the power metric e que graphically accuse are the accused that half the sliders thes used. Often the four live mixing where you can ring out the room. Parametric e accuse thes the ones you will get in digital audio workstations like the E Q eight were about to look up. So let's just get you Kuwait. I'm just going to drag it onto this bass track. I just quickly made a loop, and I just play this loop now and we're going to get through and just e que this a bit, but makes a bit of a mess at the moment. Let's go through on just drive this e Q eight over to this first instrument, which is the base, and it's called Atiku eight because you haven't eight band you cue the moment. There's just four. We can actually turn on all eight if we wish on. Each of these bands actually has a filter shape to determine what it's actually doing. So we have a list of them here, so we have a couple of high pass. Then we have a shelf ing filter, and then we have a band pass. Then we have a notch than the high shelf in Filter, and then we have a couple of low pass filters, each one of these. We can choose any off these different filter shapes, so let's have a look at this. E que So we have thes free knobs on the left frequency gain and Q so frequency this sets the center frequency off. Abandon a frequency. So let's have a look frequency. Let's select one Andi you can scroll across. I never choose the frequency. You can drag this or we can use the snow up here. Then we have a gay nub, so this will obviously increase the gain off the frequency or decrease the gain off the frequency. And if you choose a different shape, you'll see when we increase or decrease the game it will create a different shape and then going down. We have this Q knob, so this allows us to affect a tighter range or a wider range, so weaken tight in this. Let's just increase the game so you can widen or tighten this range of frequency. We also have a graphic analyzer. So when we play this leap, you can see the frequencies in this graphic analyzer. So I'm just going to solo their space life. Dr. This time on, let's just play this And here we can see graphically the frequencies. So let's just pull this down on just wide in the key. You can see here which frequencies it's reducing or increasing. So this allows us to see what frequencies might be missing. What frequencies are taking up. Maybe too much space. We have this little play button here. This triangle we click. This will expand this Ikea. Let's just play this base part again on. Then let's expand this. You'll notice now that we have a frequency. Each of these bands, so have a frequency and again and accuse each one of these bands, so just expands out the accused. That's turn on five and six on Let's just move, say six, and you can see here it's moving the game. If you move it along, its moving this frequency dollars. Well, of course, we can move this queue, so let's just increase it just to see the key. And then we go expand the key or que tighter. There's also another feature on the EU que allows me to audition just that band I'm working with, and that's his headphone. But in here, So when we click on this headphone button, I mean click down on the frequency. It will just play this frequency, so this allows us to hear the frequency that we're trying to find. So if we have a quick look, these filter shapes again. Let's just click onto High Pass, for example, will cut out the lows and will allow the highs. So if you want to cut out all the lows, we could change it to say, Ah, high pass. Obviously, for a baseline, this might not be suitable, but perhaps the low pass could be so This will cut at the highest on will allow the lows so you can create kind of a filter sweep if we wish Waken Turn that filter on a rough way Change it back to the Bumpass. Okay, lets go along to mode. So here on the right, we have knowed So have stereo Eleanor or m and s so we can have this CQ in stereo or become select Eleanor. So what, Ellen are Does it actually allows us to set separate settings for the left and right? What we can choose MNS, which is mid side setting. So mid side setting splits the way the EU que works. So I could just e que the middle And then afterwards we can eq you the sights. This might be useful for instruments such as vocal, so you can just e que the middle band of frequencies so you can get fit in the mix and then maybe you can go through on da e que the size afterwards. But a lot of this is just going through making sure there's space for each inch mint to be heard. Let's have a quick listen to say, the bass and the drums. So I'm just going Teoh the activates this piano sound this electric piano on this simp sound and then I'm just going to play the bass and the drums way case. What we could do is you cue the kick drum on the base. Just make sure the space for both of these to be heard. This, of course, could be done with side chain compression. But we can also eq you just so this space for each instrument to be heard. So just so load the kick drum. And I've just added on Niki, right? We just go free and find a lot of different frequencies. This cake from I'm just in this very quickly about that. About 58 hertz. Let's go to the base. Just going to solo this as well and then look at 58 hertz. If you pull this down a little bit tithe, you can hear this more space for the kick drum. So this is it with you to some, maybe even Blythe just really about space experiments in the going in and making space for just add on the u. Q onto this is going to add on a high pass. It's gonna take out some of these low frequency. Is this one changes to locus way through this middle booth high ones were a bit too harsh on the low ones with clashing with this piano sandals to the bass sound. We did the same of this piano sound we could add on the U. Q. Right here plays the dominant free fixes around here. So would always roll off some of this so it doesn't clash with way. Of course, we can also go into the instruments and change in judgments around as well. Maybe even change doctors for the part. Just find stuff that fits with the track so just quickly went through and just e cubes with these instruments on. This is with, of course, a de recommend going in and spend a lot of time. I'm just using what's right for the truck example. I probably wouldn't be the basis as much as this. Of course you could always, I don't say a low pass on the base. You could roll up some of these higher frequencies. So when the piano, so when the electric keyboard sound on the lead instrument sounded clashes much. It's just about crazy in space, really on just having a look on listening to different frequencies for the space for each instrument to be heard. Remember, Accused are used to change the frequency response of a signal. So this will allow the instruments in the tractor fit in nicely and to not class too much. So thank you for this lecture and I'll see you in the next one. 68. Compressor: Hello and welcome to this lecture where we're going to be looking at the compressor audio effects. So the compressor is a useful tool for basically controlling the dynamic range off audio. So what with compressor will do? It will reduce the volume of the largest part if it goes above a certain fresh hold. Of course, we can control what that fresh hold is. So I've just made a quick group. Let's just hear this back now and I'm going to add on a compressor to the bass part. It's all I need to do is drag the compressor onto the base, and here we go. Here's the compressor. Have a few different features, which are common in most compresses. Here we have the fresh hold slider. The fresh hold slider on the compressor determines the level indeed, be above which the signal will be reduced. So basically anything above 17 db here will be reduced, and you can see the reduction here in the G R stands for gain reduction. So let's just play this baseball. Concede the game reduction here If we increase, this will be less game reduction if we decrease the threshold. Obviously, B'more game reduction anythin of 17 DB will be reduced. You can see it, and I put, uh, notice. The volume isn't actually changing because we have a built up makeup gain. If you turn off the makeup gain, you hear the volume of output gain change. It's makeup gains useful because when you are using any effects, we want to be able to a B test. You want to be able to hear it with the effect on without the effects so you can compare. And if it changes the volume, it can give you a biased decision. Generally, stuff will sign better, louder. So if it makes it sound quieter or louder, you might not get a fair decision off what that program actually sounds like. So that's why we have this makeup game, but in here, which is really useful. Otherwise, we can do it by ear just by changing their outputs. I normally just leave this makeup game, but none because it saves a lot of time, and it's a lot easier to the left. We have ratio, So ratio is the ratio of compression that determines how much signal will be compressed so you can adjust the ratio amounts by the level of louder notes that will be reduced. So, for example, a ratio of 2 to 1. When the signal exceeds the fresh hold by two decibels to DB, it'll be reduced down toe, one decibel above the threshold. Let's change this to, say, Frito one on Frito or means the signal will be reduced by one DB if exceeds the threshold by free DB. Let's go down to the attack so the attack actually determines how quickly compressor will kick in. So if you have this down to zero, the compressor will kick in straightaway. On the more increase it will weigh up to one second. It will take a second for the compressor to kick him for instruments like drums. You might want the transients to play before it compresses. See, might not want to have a compression that's too fast, and you can lose a bit of the character of the sound if it compresses too fast as well. Of course, do this by ear and do what's right for the track and right for the part. Thistle fast compresses, compressing straightaway if we drunk. If we increase the attack takes longer. The compression. Okay. And down here we have release release is how long it takes for the compression to actually disengage. There's also auto feature down here, which will automatically set your release time. So basically, the release determines how long the compressor works after exceeding the threshold limits. It is important, however, for the game reduction to go back to zero before the next impulse response starts. I normally just leave this on auto, though, but like I said, you can manually change the release. Okay, let's have a look at a few off the different modes on the side. We have peak. We have our mess on. We have expands. So peak adjust the compression and based on income in peaks that are detected, RMS stands for root mean square. So this actually compresses based on average volume rather than a peak volume. I recommend testing this out again and use what's most suitable for your instrument on for the track. Down here, we have expands. So what compression does is it takes the highest points and compresses and makes them quieter. So instead of reducing the element expand will actually increase the dynamic range. It will expand the signal a little bit so you can use this. If you've over compressed something or something that's maybe compressed too much and you want to expand the dynamic range, then you can always use expand. I'm going to go back to peak and down here as well. We have a dry in the wet so we can use Parral compression so we can have the dry signal. So we have the signal without the compression on the signal. With the compression, we also have knee down here. Sony is the bend around the fresh hold, so if we bring this to say zero, we get a sharp angle with a compressor kicks in. If we increase, this will get a softer compression. When we change this to the classic view, let's just play the bass partner. You can see these lines appear way increase. The knee will get the softer compression. If we decrease, it gets sharper compression. So let's have a look at this real time analyzer way. We can have a look at the game reduction here. Yellow on. Of course, if we change the threshold which is represented by this blue line here we give a drag it or with these numbers here, you can see that came. Reduction, of course, is makeup gain is on. Drop the game reduction. It will massively decrease Envoy. But was the makeup gain on? I will try and make the volume the same with the compressor run for the compressor up, no matter where the fresh oldest. That's real time and lies that this could be quite useful to see what's going on in real time. Now let's just quickly copy and paste this over to the string sound just going to survive the string side. We can do the same here with strings. Might want Teoh the longer attack for these strings and maybe even a longer release. And here we have a blend of the dry wetland powered off compression. We can have it completely wet. Increase the name smooth. You can decrease the threshold as well if we want to have more game reduction. So this is with compressor. This is without so you do lose some dynamics, but that's the whole point of compressor to compress the dynamics. Like I said, if you want to expand the dynamics, you can use the expander, you know, just game reduction will go up in this case and step down because we're expanding. The dynamics here is to have compressing them. So that's how we can use the compressor in able to live. 10. Next lecture. We're going to be looking at side chain compression. 69. Sidechain Compression: Okay, Now we're going to have a look at side chain compression. So side chain compression is basically where we allow the compression to take place when another instrument or another sample plays. This could be very useful for creating space in the low end. For example, if you have a bass part, you might want this to duck down. When the kick drum place. There's not too much of a muddy sound. This could be used as an effect as well. You get that kind of pulsating effect for dance music. We have synth pads as well, so you can use this Iverson effect or to credit bet Space in your mix is normally used with a kick drum. So whenever the kick drum plays, the part of the other instrument will duck down. You can control the speed of this, and you can control the amounts. I'm sure you're definitely recognized this side chained effect. We can access it in the compressor. So always do is drag over a compressor. I've got a bass sound on the drum kit. Let's just play this night. I'll show you this little loop on. What we're gonna do is actually ducked down the base whenever the kick drum plays. It's a really simple the base parts just playing everybody on the drum kit. So it has a snares on beats to him. Four on that has to kick on beats. 123 and four. There's some high hats, So whenever there's big drops, basically, whenever there's the kick, this case, every beats, we're going to duck down the base a little bit. So it's really simple. Dragon are compressor than hit this little triangle here. Then here we have this button side, China's. Activate this and then the interesting part. We can choose audio from. So here you can choose drum rack, but we don't want the whole drum rack. We want just the kick drum so we have this other little drop down box here and here. We can actually choose the kick. So how big? A. We've got kicked. Five. Got pre effects post effects? Post mixer That's choose pre effects. We haven't really gotten effects on that at the moment, but let's hear this. Does it really make a difference ship If we drop the fresh hold, we have this gain reduction come through here. So whenever the kicks playing. It's reduced him. You can change the attack. It's not as quickly can have really quick, fast, punchy sideshow. Let's have it. So in the middle you can choose auto release as well that we can manually choose the release. Same is the compressor. We can choose the ratio. We can't have a filter type as well. Filter out some of the accused before it goes into the compressor. So let's just cut. Type some of the lows if you bring them back and you can get that pulsating sound. Obviously, this is quite dramatic. You might want it about here. That's just solar. This I can hear it pulsating on the beat. So if you turn the metro month about the compressor, you will have to adjust the output gain. You might notice that the volume does actually change when we have the compressor room. That's just a quick way of using the side chain compression. You haven't looked at the compressor lecture yet recommends going back to that. If you want to have a look at this in more detail, that's how you can set up a side chain. Really straightforward, really simple. I'm sure you recognize this sound in a lot of electronic dance music, So thank you, Fortune. I'll see you in the next lecture. 70. Glue Compressor: okay, In this lecture, we're going to be looking at another compressor called glue compressor. The glue compressor is useful for compressing multiple channels or multiple instruments together, so it sorts of glues and together. So it's very useful in buses like a drum bus, and we can also use this on a drum rack. So let's drag this after odd remark. And here this will compress all of the instruments in the drum rack so similar to of a compressors. We have fresh hold of attack release in the ratio. We don't have auto makeup gain and have toe make up the gain ourselves. So if it does get a little bit quiet, we can increase the game here. The ratio as well we have to if you want more gentle compressor on four on 10 if you want more extreme compressor. So if you want to topple this compression on the rough, you have to manually go through and try and make the makeup game about the same with is off . That way you can a B or split test the compressor on or off. We also have different release settings here. The A is automatic, so we can leave this on auto similar to of a compress A and able to life with Toronto's. You will want to capture some of the transients so I wouldn't have the attack too fast. So let's try free milliseconds, and I'm going to put the ratio back to four. That's just corrupt the fresh hold on. I'm just going to solo the drums now and just play their strong loop through. This is with the compression blue compressor. This is without so we can try them or extreme setting. We can have the ratio on 10. Let's decrease the threshold. I'm gonna put the ratio back onto four on increase the threshold. We also have a dry wedding up so you can use Parral compression. We could have a dry signal with the wet, compressed signal going up here. We have a clip, so this will adds suffer limiting effect to any clip. We might, however, have to increase the gain signal a bit more to hear the results. Then there's this range not below, so this is how much off the income and range will be compressed. So if we decrease the range, the compression is only applied to the first decibels. You can see it here. Increase It will be applied to up to 70 decibels. That's just to increase this to say five. You can see here the compression will only be applied to the 1st 5 decibels. The matter where the fresh shoulders we increase this be applied to the 1st 15 decibels. If we increase this all the way to 70 and all of incoming audio can be compressed, So this dry wetting up can be useful. If using extreme settings on you want to have a mix between the dry signal on the wet signal. We also have this revealed triangle on the top left. So this reveals same as the other compressor, the side chain audio from so we can add sign chain compression if you wish the gay in the mix and also any coup in the drum rat. We might not want to actually compress all of the drums with this clue compressor, for example, I probably wouldn't have the kick drum going through this blue compressor so you can actually go onto the chain for the drum rack. Let's find this kick drum which is here at the top, right click this and then go on to extract chain and noticed the kick drum has appeared here with just the kick. And if you get to the drums, die. No, it's just the kick from his gun. So that way we can ads blue compression on the other drums. So this nan the hi hats on the percussion, but not on the kick drum. Okay, so let's go back to the drum rack and let's turn off side chain. And now, when we play this back now we can glue compress the drums without the kick drum. Have the kick drum on the separate channel. So that's basically how we used a glue compressor. I was just going through there, just adjusting a few of the settings and trying to make the blue compressor with the makeup gain the same volume with it bypassed. So thank you, For instance, lecture all about blue compression and I'll see you in the next lecture 71. Limiter: Hello and welcome to this lecture where we're going to be looking at the limiter. Plug him, said limiter is a dynamic processing effect. It basically limits the outgoing volume off a signal based on specified parameters. Regardless of how loud of a signal you send for a limiter, the output off the limiter will not get any louder than what you have. The ceiling set to so limiter is useful to keep signals in a safe range and away from clipping into the red If your project goes into the red. If it starts to clip on the Master Channel, this might not sound like a problem, but if you mix it down, it can be a problem. It can be a problem for mastering. Also, if you're playing this live on big, loud sound systems. This can also be a problem if it goes into the red. So let's drag the limiter onto the Master Channel. So all these dudes just drag announced this master channel and here will be the limiter. So let's first of all, have a look at what it says here ceilings. The default is minus point free on the max. We can go to zero. If we double click will go to the default, which is minus zero point free. I recommended even get a zero point free. You can also Kappler, if you wish to say to 0.1 even lower. But I do recommend that even get at minus zero point free. So what this means is the volume can't go above 0.3 decibels. It will cap a zero point free. So anything above zero point free will limits and who actually compress. So the more exceeds zero point free. More compression you actually get on this meter here will actually give us visual representation off. How much limiting is actually taking place? I'd say anything above 60 b is kind of over doing get and you might get some audible distortion to just be careful how much you're actually limiting. Let's just go through these over settings on the limiter. And then let's actually put some audio through this limiter. Okay, Going down, We have a look ahead. So look ahead. Decides how fast the limiter reacts to a peak. So we have 1.5 milliseconds free milliseconds or six milliseconds. The default is free milliseconds So, like I said, look ahead. Time determines how quickly the limiter is able to predict the peaks that coming in so short a time is slightly more accurate. It's, but it will use a bit more CPU, so I'm just going to leave it on free milliseconds. And then we have the release down here. You notice auto is default. I d recommend leaving it on all types of what the release knob does. It sets the amount of time after the signal drops below the ceiling before it returns to normal. Okay. And then, of course, we have the gain up which will allow us to increase the gain. All decrease the game. One little tip is you could add, say, 5 to 10 decibels of gain and then play a mixture track with this 5 to 10 decibels gain on the master, plug him so on the limiter. So when you're ready to actually bounce this ready to be mastered, you can just turn this limiter. Then there will be plenty of headroom left, say, a good six decibels of headroom, which is enough for mastering. That's a little tip. You could have the limiter on the Master Channel to increase the gain, say to 5 to 10 decibels on, then just turn it off. Then, when it's sent to be mastered, or if you master it yourself, there be plenty of head room ready for mastering. But make sure. Like I said earlier, make sure there's not too much reduction here. Make sure not limiting mawr than, say, six decibels. We might start to get a bit of audible distortion. Okay, then we have this here story or Elena. So stereo applies the limiter to both channels, the left and right channel to get stereo limiting on Elena. So Eleanor Mode is functioning as two independent limiters, so it has individual limiting for each the left on the right channel. So if one size peaks and that one side will get processed by limiter on the other side votes, So I'd normally just leave this on stereo because it cannot sleep. Disruptor, your stereo image on Ellen are So let's just leave this on stereo for now, Okay, On this meter, like I said before, is the visual representation of how much limiting is actually taking place that put some audio through this. Let's put this loop that I previously made through this limiter wait in the meter that is limiting a small amount. Let's say this is quite a good level. This is a good level when we're about to mix. So what we can do, like I said before, is turn off this limiter. Then we have about six db of headroom, which is great for mastering. So that's just play. This Lee began, and then I'm going to turn off the limiter, and you should see in this meat over here that there is space for mastering plenty of TV room. Have plenty room increases a lot for this example to say about seven decibels and how, When we play this, you'll notice there be a lot more limiting going on, increase even more. You probably wouldn't want limiting like this because there will be some audible distortion . So it's just double click this to go back to the default, which is minus is every point free. So that's limiting, and that's a limiter in able to live 10. Thank you for watching this lecture, and I'll see you in the next one 72. Simple Delay: hi. In this lecture, we're going to have a look at the simple delay audio effects, so the simple delay is basically a delay. That's quite simple. That's why it's called a simple delay. So I'm just going to drag this over to this audio track where we have a drum parts. First of all, you'll notice these little boxes so each one of these boxes represents how many 16th notes it will delay by. So the 1st 1 would be one which will delay the part by 1/16 out. Let's just hear this with 1/16 note delay and then we could delight by 2/16 notes or an eighth note. Free 16th Notes or dotted eighth notes, 4/16 notes or court note. 567 and all the way up to 16th 16th notes or a whole notes just above here We have link, and you noticed the boxes below actually disappear when we hit Link. So what I think will do it will link the left on the right channel together. So we get a mani delay rather than a stereo. Today, with this unlinked, we can have a separate delay for the Left Channel on a separate delay for the right channel . So say, for example, you could have 1/8 delay in the left or to 16th and the right. We could have, say, 5/16 on Let's just play this back. If you wear headphones or you have monitor speakers, you'll be able to hear this panning effects through the delay now, okay and then going down. We also have these sink buttons. We can do this independently. The Left Channel on the right channel so could choose a time based effects rather than sinking the delay to our clock of our tempo. So that's actually just change this to a time value. And let's play this back now so it's not actually sink. Talk to our tempo, so that's one you can experiment with, and you can do independently. You could have, say the Left Channel to 16th notes in the right channel, maybe 100 milliseconds. So that's one to experiment with. So going down, we have feedback on dry wets. If it's all the way to the left, it will be completely dry, so we will hear none of the effect. And if you have all the way up we're here just the aware effect and you can get middle balance. Then we have feedback to the left. So feedback is basically running the delay signal back into the delay signal. So get mawr delayed as it goes back into the delays. Signal your notice. It stops at 95%. We can't get 100% feedback because it will actually get louder and louder. So let's just play it now. Over the feedback set to 95 you'll notice the delay will just keep building and building. So I'm going to pause it now, and it's still delaying. This will delay for a long time for this feedback set to 95. Be careful of the fee about, though, because you can go into the red sometimes because it can get a little bit crazy. So I wouldn't have too much feedback but experiments and use whatever is suitable for your track. What I would normally do as well is also have the wet on 100% on, then have this delay as a send effect. You know, just here, in the sense we have a reverb on be delay be delay actually has a delay So let's just delete this one on. Go over to the one we just made and drag this over to be return. And now what we can do is we just moved his little dials here. These be dials on this will send our signal completely dry to this reverb. So we don't want any of the dry signal here because this will just make it louder. We want already wet signal. So we're sending our signal to this delay and then that will go to the Master Channel. So let's just hear this. Now we can send some of this delay. You could hear DeLay, turn the delay off by putting this dial dime. I've got a piano part here as well. We could also share the same delay with another audio track or never instruments. So far, I don't delay with this piano part as well. Just me about this dial and say I want mawr delay on the piano and just a small amount of the late on the drums. We can do this with send effects as well. We can always go into the return track here on Just edit some of this. Let's have this eight and let's have This is a free creates the feedback. Let's try. This is a time value and then we can always so low this delay here this return track just to hear the delay. So this is what's happening when the signal gets sent into this delay track so this could be blended with the instruments. Just add on so nice effects. This won't get to muddy because thes audio tracks are sharing the same delay because the both getting sent into B, which is simple delay. This is normally how you should mix on work with time based effects like delay or reverb issue. Really send them into a return track. Able some lives. Default is a which is reverb on B, which is delay. You can add on mawr sends if you wish more return tracks or you have to do is go up to create and then insert return track or use the key commands. Olt Command T so here or command T. This will make a new return track, and you can as other effects and there. But I would normally use a time based effects like I said, reverb or maybe delay so This is the simple delay, and that's how you can use it in able to live. 10. Thank you for watching. 73. Ping Pong Delay: Okay, Now let's have a look at the ping Pong delay, so this is never delay. But that has this special feature, which is this little graph here going down your notice. We have the same eight bars as a simple delay. So each one of these represents how many 16th notes is going to delay by. So we have 1/16 2 16 for eighth note free 16th which is a dotted eighth note 4/16 which is 1/4 note 568 and loyal to a whole note, which is 16 16th. We can sink this certain much is our tempo. All we can use a time value. We also have this F button in time and sink, which is free. So the delay will endlessly cycle into his own freezed, so this could be useful for life performance. If you just want to keep a delay going over and over again, then you could unfreeze it when you want it to not delay anymore. Then we have this beat offset percentage. So if you want to create a swing, feel you could actually do this here with this beat. Offset. We don't have this in time mode just in sync. So if you want to create a bit of a swung delay, feel you could use this percentage here, then we have feedback. So this will feed the delay back into the delay. Continue going around around. Similar to the simple delay, it only goes to 95% because 100% will make the delay grew louder and louder and louder and will clip on, distort the signal. Then we have dry wets. You using this as a sense If you're sending this to say be returned here, you will want to have a 100%. But for now, we're just going to leave it in the middle so we can hear what this sounds like on the top . We have this graph here, which makes the Ping Pong DeLay quite unique, is basically a band pass filter. So it filters the signal and then delays the filtered signal so it could drive this around so we could have a low pass filter or are high pass filter so you can move up or down. You can see the gay and move up here and then the hurts here, the frequency. So let's just put this wet all the way up, and I'm just going to play this drum loop seeking here. It's a high pass filter, so it's cut out a lot of the lows. That's really just the Shakers. And if you move it over your here, it's caused a lot of the highest. It's really just the kick drum. We could have it in the middle because I have the highs and the lows, and we just have this middle band here so you could drag it around so you could delay at this the lower part on Mix it with the dry. Well, you could delay the higher parks, so it's quite interesting, really, just to rack this little circle around. Or you can do if these numbers here hertz the frequency on the gay in the amount she wants this to actually move for them. Similar to the simple delaying over time based effects are do you recommend using this on the return? So drag the saver to be return and then put the wet all the way up on now on the B signal, you can send it to the delay. That way, Dr Signal is left the same, so it won't change the volumes that went change that around it went moody up. If we using several different delays now we're going to send this piano parts on this drum loop to the delay slips. Play both of these on. Let's just so low this return track here we can hear. It's just delaying the high parts now. So all of this lower parts is all cut out. If you can see the graph here, so going up is the volume on. Going down is the frequency so you could see these lower frequencies are all cut out, and if we drag it along, you can see the higher frequencies. All Qatar. And let's just hear this in the mix. Let's turn this room part down a bit way could send even mortars. Ping pong delay Pinpoints of light can be quite interesting. Really, if you just want to delay certain frequencies or if you want to cut out certain frequencies , you can do this with this ping pong delay. Plug him. So thanks for watching this lecture all about the Ping Pong delay 74. Auto Filter: hi. In this lecture, we're going to have a look at the auto filter audio effects so the auto filter or basically automatically filter at certain rates which we can actually do with LFO. So it's basically a filter with an LFO so we can move this filter around automatically. So we have three sections here. We have kind of this envelope section. Then we have this filter section here and then we have the LFO section on the right. It's this graph here in the middle. This is the standard filter kind of stuff. You have a low pass high pass ban passed notch and random. So we have a filter type here so we can choose clean filter or we can have analog type filters. We also have different curves. We can have a steep occur for 24. Okay, then we have the envelope up here, which allows us to choose how much you want this to actually affect the filter. Then we have the attack for the filter and then the release. Let's just play this lute now of dragged in a drum loop on. Let's just move this filter around. You can hear it's just a standard filter. And also when the move this open down, you can see the residents move and also the filter frequency. So here's obviously cutting out a lot of the highest is cutting out this information and leave in this information. We change it to say a band passed. We can just have this band here if we bypass the filter. So let's go along to the LFO. We can choose the amount we wanted to actually also late, and you can choose this shape. So we have typical one sign square triangle saw teeth. We have some random ones as well. Let's just play this and you hear this filter actually move when she's the right or we can actually sink this to the clock of our tempo. This'll actually has a rate of 1 60 notes, so this is basically moving 1/16. That's let's change this to 1/4 notes. Let's just put that I'm not really high, just taken, obviously, here The LFO having effects on this filter every quarter note it's filtering, so every quarter note it's moving. We also have phase on offset kind of works as also Panoz Well, so if you have headphones on. Now you hear a panning effect, so phase will allow you to actually put this out of face. If you want to. Out of phase perfectly, you will have to choose 180. Then, if you hear this with some headphones on, let's put offset down to zero. It does create an auto. Pam officer allows you to shift the starting point for each LFO off the way form. We could try square. If you want to say a bit more of a sharper LFO, let's put phase back to zero offset down to zero as well Split this but to sign. Then we have this box quantities with quantities on it will snap to this new location. So each one of these is 1/16 note. So if you choose one every 16th notes, you'll hear this rhythmic pattern. Let's try for So this is 1/4 night for 16. So every beat we won't hear it Smoothly move! We're here. It move onto this Be I'm just going to put the telephone down on move the right toe. 1/16 notes. And now we should hear this move of its sharper every beat could change the right here. So this is about the con ties. This is with the quantities. It just adds another rhythmical elements. If you do want to use it. So that's basically the auto filter. We have the sections that envelope section filter section than the LFO sections. Thank you for watching, and I'll see you in the next lecture. 75. Auto Pan: Okay. Now let's have a look at the auto pan effects. So planning is really just increasing or decreasing the volume from the left Channel to the right channel. That's basically what it is on Auto pan is similar to auto filter. Except this time it does just the panic. So I do recommend having some monitors that spread apart or having some headphones on for this lecture just so you can hear the panning effect So you can see here we have the graph left and rights. Then we have this amount. When we move this up, we can see this panning effect here. So we have the left channel, which is this blue one on the right channel, which is this yellow line. So basically, we can choose the amount of panning, So I'm just going to play this lute Now you have headphones on. You should hear this pan. I put this to 100. It will be more obvious. You can increase the rate and hurts well, we can hit this button here, and this will sink it to the clock of our temple. So every beats every quarter notes it will be planning to the other side of the head phone . We have phase if you want to put this in phase or out of face. So this is perfectly in face where there is no panic. If you put it to 3 60 again, it will be perfectly in face. Put it to 1 80 It'll be perfectly out of face. So let's hear this now. So when I see is going from the left to the rights weaken Just the shape. Let's just change this rate to everybody. Let's just change this right to half notes. You can see the shape here, get square us that moves over a bit quicker rather than softer. Kind of smooth shape countries the waves. Here we have sore Try and go. We move over, it will 10 more into a square. Then we can have this random ones Well, which can be quite interesting. Let's just put this back to the sine wave. We also have this offset so you could start part way through the wave. Well, we could start the start of the wave. Then we have this button here that says normal. If we press this actually toggles the phase of the LFO If you look at these yellow and blue lines, they will swap around when we hit this. But, um, that's basically it. That's also pun you do want to set up. Auto plan is quite simple. Just have the amount you actually want a planet snatcher. Rates slept, the phasing slept the shape. You can also offset this, and you can have it sink to the clock of your tempo. Or you can have this in hurts. So thank you for watching on. I'll see you in the next lecture. 76. EQ 3: you keep free is quite simple. It just has free bands low, mid and high. He used the car stereo before he might be familiar of this kind of system is just a low amid and a high. However, this can be quite useful for live performance, so you could quickly take out a literal the middle or high. And these could all be map to your MIDI controller and even your computer keyboard if you wish. Let's just play lip now, and I'm going to take out the low and I'll take out the high and also the mid the midst, less commonly used to quickly pullouts and put back in. But it can be used as well, so good. Take out Lo and then put the low back in on the high on. Then the myth could also Donald this down on dial it back up, double click to go back to zero, some of the high, and that's basically it. Like I said, these could all be a map to a midi device, which makes it very useful for live performance. But if you want to actually go in and sculpt the sounds and e que your instruments more effectively for recorded music, rather live music. I recommend using the equal rights. But for live performance, IKI free can be very handy. So down here we have frequency low and frequency high. So this allows us to define the low frequency. Andi also are high frequency center. So it's basically the bottom on the top that we are focusing on the low on the high. Then we have 24 48. This is more drastic filtering with the 48 but it does require a bit more CP. So that's the EQ You free is quite a simple effects, but like I said, it can be very useful for life performance. But maybe not as much for actually recording your own music him. So thank you for watching and I'll see you in the next lecture. 77. Filter Delay: Okay. Now let's have a look at the filter delay. This one is similar to the Ping Pong delay you can see over here. It's got the graphs. It's got the delay. Time is kind of a multi band delay in the ping Pong delay. We just had one of these sections here with the buttons on in this ping Pong delay. We have free sections. This is quite useful. If you want to isolate free bands, it's a free, different band pass filter so you could have, say, a low band, a mid band and then, ah, high band, each having different delay settings. So if you want to delay, say, a drum kit, you could delay the hi hats. You could delay the mid so the snares and the toms and then you could delay, say, the kick at different rates so you can come up with some quite interesting effects for this . The difference says on the Ping Pong delay, we have a wet, dry nub here. We just have a dry so this will control the dry volume on. Then we have this volume knob here which will control the wet volume essentially off each one of these free separate delays. So the 1st 1 is a left delay. The right one is left and right on. The 3rd 1 is a right delay. However, we can control these to be whatever we want with this pan dial here. We also have this feedback tile so we could feed the delay back in to create Maura. More delay. So similar to the Ping Pong delay, we can choose the delay time. Each one of these is 1/16 notes. So we could have won six teams to 16th or eighth. Note free 16 for data date for note 4 16 accords, no etcetera. Then we have this percentage wise here. This will allow us to shift the delay to create kind of a swing feel we can sink the delay . So at the moment it sink to the clock off the tempo, Or if we hit this button, it will swap to time so we can have a delay based in milliseconds rather than sink to the clock of our BPM. And that's basically it. We can even move this little circle around to create the filter here, or we can just move it here. Sutin So let the hurts and you can select the gay in here, and that's basically it is very similar to the Ping Pong delay. But like I said, it's got free of these ban passed filters. So let's just play the drum loop and I'm going to have the bottom one filter everything but the low end. So hopefully just the kick, the middle one. Let's just choose a middle band. So this should be stuff like snares on maybe Tom's on the top one. This should be symbols of things like the hi hats of crashes, maybe the right symbols. We can actually click these to activate is on or off. So let's just start with the bottom one. And let's just choose to 16th notes and sink it so it will be delaying 1/8 notes. I'm just going to put the feedback all the way down on the pan. I'm going to put this in the middle for now, okay, so let's play this loop with the delay, so they should filter out all the high stuff and just keep the low stuff. And if we increase the Web, let's just take out all the dry then we add the dry signal. OK, and now let's in this middle band here. This is delayed at 1/16 notes, so let's add them both. So I have this middle band on the lower bands so the middle bands will have 1/16 note delay and lower bands. We'll have this 1/8 note delay. Let's just take how old the dry. Now let's add this higher bands on. Let's choose 6/16 notes increases for you on Just turn off the track activated for the middle band and a low bon. Have you ever even more? Increase the volume? Turn the food but down that's planned this to the left. Let's have this low band as well. Upon this to the right. Add some dry. Now let's add this middle bund. Turn the stand of it. Let's just bypass the effect. Let's just turn off the effect. So this is the effects without the filter delay on this is the effect with the filter delay so we can increase the feedback. If you want something a bit more wild, been here feeding back incidental a unit. Of course, we can swing these as well. Just drag it up it would create kind of a swing feel kind of a shuffle feel with the delay . Let's just turn the feedback down. And that's basically the filter delay. So we have three different filters here, and each one has a delay so we could choose different bands, so I would normally do is have a high bands mid band on the low band. It's up to you. Experiment. You can sink this to the tempo, or you can just use a time based delay. Then, of course, we have feedback. We have Pan and we have this volume up here, which is really the wet volume. And then we have the Dr William not here. So that's the filter delay. Thank you for watching. 78. Grain Delay: Okay. Now let's have a look at the grain delay so the grain delay is a granular delay. It's both a time on a pitch effect. So what it does, it basically chops up your audio falls into many little audiophiles, Really? Small ones on these tiny audio files can be rearranged, overlapped and pulled apart, and that will create this granular effect. So there's a lot under the hood that's going on here. But what we can really see is this simple interface. Of course, we have this X Y pad as well. This X Y pad is more for life performance. It's more for a bit of fun for dragging this around, reduced to get some MIDI controllers that have an X Y pad where you can map this to your controller. But the rial displays are down here. So we have these displays on the left on. We have the same six displays on the right, so the ones on the left will move up or down, and the ones on the right will move left to right. And then we can actually select two of these if you wish. So these aren't activated. These allow you to select each one at a time. And this allows you to move this circle round or to just move the settings in the box here so you could have spray and feedback. We could have say, random pitch, Andi, feedback those a different ones on we're going to go through in this lecture what these actually mean Because it could sound a bit strange spray and frequency and explain what these actually do. So the 1st 1 is spray, So this is going to be random izing the grain size, so add some random elements to it, and frequency actually allows us to choose the grain size. So it's basically the size of igraine, and then we have pitch, which is a transposition. It will literally just change the pitch of this delay, and then we have random pitch, so this will add some random ization into that pitch. Then we have feedback, so this will run the delay back into itself to create feedback. And then we have dry wet, So you Kenbrell. Unz's the wet signal off this delay with the dry signal, which is the signal without the delay. And that's basically it's like I said, it can look a bit confusing because we have this X Y pad, but it really allows us just to choose to at the same time and move this around to change the side. So let's just start with frequency. So the higher remove the frequency, basically, the bigger the grains would get. So it's Sarah in different were played this loop on your notice. It will sound different also. If you have two of the same selected on the left down here on the bottom, it would just change that one. Here we have the dials in the side. Okay, so let's start after a frequency. So this will basically change the size of our grains starts with default of 60 hertz. Let's just play this at the moment. The dry where is on 100%. So all we hear right now is the West Signal, so it doesn't really sound that different. If we increase that, they you will notice a different kind of signed. If we decrease it, it was. You'll notice it will change as well. Let's just put the dry wet down. Obviously, all the way down. It's just the right signal on all the way up is the wet signal so we can get the balance. You can also set this to a return truck if we wish as well. But like I said, there is a time and a pitch based effects, so you might not necessarily want as a return track. But you could always do that. Okay, now let's affect the spray. So what? The spreaders is that randomize is the grain size. So let's just increase this. You can hear this random, crunchy Sam come in. I've also got pitch selected at the bottom. You can hear the pitch increase in this drumbeat. Let's say that these both to spray now I want to move. It will just about scrape. So this isn't really adding any random elements in the frequency because of the sprays all the way down way. Increase this, you're here. That's crunchy kind of sound. Okay, now let's choose pitch, and this is quite literally, just a pitch shifter. Let's just drive up to 100% can get some really interesting effects. I'm just going to drop frequency all the way down. You can hear is just a pitch delay, really. Right now, we have to set to 16th notes. So these boxes here the similar to the Ping Pong DeLay similar to the filter delay. It lets us choose how many 16th notes who wanted to delay by so 1/16 to 16th or eighth notes, free six teams or a dotted eighth Notes. 4 16 or quarter note, etcetera. We can also sink this to the clock of our tempo, or we can have a time based delay. Let's just choose a time basically drop the try Web. Let's just think this. Let's have this as 1/8 notes. Get some really strange effects when we have this pitch dropped. Kind of sounds like someone breathing to May. Let's increase this. You also have this percentage share if you want to add kind of a swing element. Okay, let's just set the pitch back to zero. Let's have a look at this random pitch. This will randomize the pitch after pitch increase. This would give us some random ization in our picture. Of course, feedback. You want to lose this back into itself can create something a little crazy. As you can hear right now, it's selected on pitch at the bottom Like I said, this is kind of X Y powered you could use for life performance. For example, you could have say the frequency on the left side on the pitch going down. And then we could drag this around to create strange, weird, crazy effect. They've even spray and frequency. Let's just put the wet with a 100% just experiment with this X Y pad. Even delay time goes through. As you can see here, the different boxes tried to lay time and pitch, maybe even dry, wet on pitch. So this allows you to kind of put a bit of performance in your delay and get some really interesting sounds of the spray frequency pitch, random pitch feedback, the dry, wet and, of course, the different delay times. So that is the grain delay. I hope you have a bit of fun of this delay. It can be good fun. You could get some really crazy effects, especially with this X Y pad on having different settings on the left, on the right or the X and the Y, just to create some unique crazy sounds. So thank you for watching, and I'll see you in the next lecture 79. Reverb: Okay, Now let's have a look at the reverb audio effect. So reverb is the effect that gives a sense of space to recording. Ribs can, however, be very process er intensive. So the most effective thing to do is to actually take the reverb on, put it on a send rather than on the separate trucks. But for this example, we're going tohave on this audio track. But generally, I would have a reverb on one of these sons and actually send the tracks to this reverb for two reasons. One to save on CPU power. And the second reason is so that the tracks all share the same reverb. Also, I wouldn't really add reverb toe low frequency Sounds like a kick drum because that can end up as a muddy mixture. Generally, reverb isn't really applied to lower frequency instruments. Okay, so let's have a look at this Plug in here. You have a few different sections going on. We have this input processing. We have early reflections. We have a global and then we have the diffusion network. Let's have a look at the input processing. First of all, so down here we have this dialogue that, says pre delay. This sets the amount of time it takes for those early reflections to start. So say you're in a room and your shouting and a microphone the other side of the room. The early reflections are the ones that bounce off the wall the quickest and reach the microphone straight away on. This is meant to emulate this. Of course, this is digital. It's no Apple rumor in It's meant to emulate a natural room that we're in. If we click on this arrow here and look at the presets in reverb and noticed, we've got free different ones, we've got hole, which is meant to emulate a big haul, a room which is a smaller room, like a drum room and special, which could be used for more special effects. Okay, so the pre delay, like I said, this is the first reflections that early reflections on the prison lace sets the amount of time it takes for those early reflections to actually start. So I'm just going Teoh, grab a sample quick drum sample. You probably wouldn't have the same reverb on the drum. Lee, this is just for this example normally like I said it might not have reverb on those lower frequency instruments like a kick drum. However, for this example, we're just going to play on this drum loop. So I'm just going Teoh increases pretty delay here. So this is the pre delay at 250 milliseconds. And now if I drop it down to 0.5 minutes seconds, you should be able to hear that pre delay. We also have this filter here similar to the Ping Pong delay. It's kind of band pass. We can have just a hiker or a loca. So this will allow us to actually cut up some off the lower frequencies or some of the higher frequencies of this local and hike up. You can disable one of these. If you want to save a bit of CPU power, this will actually cut out The signal before is processed into the reverb. Let's just hear this with a bit of the Lok up first drug this total the way wet, and now you can hear that a lot of their lows of being cut out. If we do leave away protect some of the highest, you should be able to hear that these highs of being Qatar, we could do both and create kind of a ban pass. Or we could just say, could at the lows, let's put a bit of dry in just to hear in the mix and increased some of the pre delay. Okay, now let's have a look at the shape dial. So what the shape does It changes the shape of the room that changes the acoustic properties off the room. So the show changes the sound as well, so lower values are going to be less intense and higher values going to beam or intense. So let's just increase the shape. Let's see if you can hear difference Tween high values and love I use Let's put it all the way wept I'm just going toe change this filter as well. So this is shaped settled. Zero this is shape sets on one. Okay. And just above this, we have spin. So this is our modulation amounts. You can control this with the amount on the frequency in hertz. Okay, then we have this section early reflections and we have spin Spin will give us modulation as we change and affect the sound off these early reflections. So we have our rates of modulation down here On the more modulation we will give it, the more artificial the tones in the early phase of this re verbal will actually sound. Let's just play this loop on move this been around. So we'll give us a bit of modulation. We can choose the hurts here. We increase or decrease the amount of this dial here. Or you can just move this little doll around. Okay, Going along. We have this global control. We have quality. So we have ika in mid and high. Hi will give us the best quality. However, it can be more CPU intensive. So if you're going to have a reverb on several channels, I don't recommend having on high. However, if you have your reverb on a scent track, you might be able to have this set too high. But just be careful of your CPU. Keep an eye on your CB meter Over here. Going down. We have size. So this allows us to control the size of the virtual room that written. We can have a smaller room size like the drum room or we have the largest size, like a cathedral, then going down. We have this stereo dial here, so this sets the amount of spread off the stereo signal. So we have ah, wider stereo spread with mawr on, obviously a narrower stereo spread of less. So this is the stereo spread on zero on increase to 120. Okay, we have the diffusion network here. Let's first go down to decay time. So decay time determines how long it takes for the decay tail to get down to zero decibels . So it's basically how long the reverb will take to fade to almost nothing. So if you increase this, it will take almost for that amount because it's 60 seconds to go to 60 decibels on. Obviously, the more we decreases, the quicker it will take to go. Teoh minus 60 db all the way down to 200 milliseconds. It will be very, very fast if we increase it. Obviously it will take longer. We have another kind of filter here so that once we've had the input, processing and early reflections, even if we cut out some of the highs and lows, this can produce a reverb that will actually give us a more highs and lows so you can go through and we can cut out some of these. So we have to toggle on low here. So, like I said, this river, even though the lows have been cut at their initial signal, it can produce them or low sound so you can go through and take this again. If you want to contact Morvillo's or even more of the highest, you can choose the hurts here on the amount of this dial here. Or we could just move these little circles around okay and going down. We have freeze. This could be mapped to a button on your MIDI controller. This could be useful for life performance. It's what the freeze will do is actually grabbed the reverb signal at the time you hit it, and it will freeze that. So let's just play the sleep and freeze it. So it's frozen, though, and it's going to stay frozen. This reverb sound until they hit for his again, can be a lot of from, so this could be used for for sound effects or live performance. If you want to kind of sound escape frozen reverb sound. It can be quite interesting. So I recommend having your play with up. It's not that practical in every day, kind of standard production, but for experimental stuff, it can be a lot of fun. So we also have a flat bottom below this freeze button. Somewhat the flat button does is actually ignores the E Cube. So most of the time I wouldn't really want it to ignore the e que the freeze so it will cut it out. And it would create a flat signal, basically. So let's uncheck flat and I play okay. You also have cutters. Wells were flat and cut. So what cut will do? It will no longer receive any more incoming river. So if there's another chord, if there's another drum hip, it will ignore that it would just freeze the moment you hit freeze. So if you d select cuts, if it's disabled, each new called or each new stab or each new hits whatever's going into the reverb, it will add to the frozen results. So let's try this without the cut. So the new drum hits are adding to this frozen results. That's right with cup. It's just freezing whatever was hit when we hit Freeze. So is building a building of freezing the new science that's being reverberated rather than just that one sound When we hit this freeze bottom, that's a little free section. Like I said, it can be good fun, but it's not the most practical. If you're just trying, Teoh produce standard radio friendly songs. Okay, up here we have a dedicated chorus for this river so we can choose the amount of this dial here on. You can choose the frequency with hurts here, so this chorus siren can be useful. If you want to add a bit of shine to your reverb sound on, then going down. We have a dense to dial, so this is how powerful or how dense the diffusion network or the decay tail is. So let's try a heavy density Theun a fin. A result, I probably have it somewhere in the middle and going across. We have scale. This changes the shape off the diffusion network bounce back so higher results will give us sort of darker sounds on the lower results would give us a bit of a brighter sound. Hiss. Brighter sound is the darker side and then going along. We have some volume controls. Of course. It's dry wet, so if you just want the drive signal, have it all the way dry and just the wet signals. So if you are on the return track, have it 100% wet. But for this example, we're just going to have it in the middle right now just so we can hear part of the dry signal and part of the reverberated wet signal. Let's put this all the way back. 100% wets and then we have two more details here. Reflect on diffuse thes are basically separate volume controls for the reflect section and then the diffuse section. So this top one is for early reflections, says controlled by the pre delay and for the so one. So this top so this top dar reflect, reflect, So this top dar reflect is for early reflections on diffuse controls. The section here. So there later reflections so you can control the volumes independently for the early reflections on for this diffusion network. Okay, that's it. That's the river Audio effect is a very important one. It's very commonly used in a lot of different Germans of music. Like I said, I do recommend using reverb on a send effect because it can be quite CPU intensive on. Also, you don't really want separate reverb on separate tracks. It can sound a bit Mahdi. It can sound a lot nicer sharing the same reverb effect. So just drag it onto a send effect, for example, and then just control the sends with these dials. Here, I do recommend going into the presets and having a look at different ones. Room special on Hold on backwards Engineer, Try and work out what's going on and, of course, make our own sounds. Make your own free sets and save them as well. So thank you for watching this lecture. I hope you found it useful all about this reverb already effect in ableto live 10. 80. Chorus: Hi and welcome to this lecture where we're going to be looking at the chorus audio effect you might recognize. The chorus is built into a lot of guitar amps and also very popular guitar pedal. So, of course, was actually designed to make it sound like this to people. So the playing of the same instrument or the singing the same parts like a chorus, because when two people sing, it's not going to be exactly the same. They're going to be slightly out of times going to be a few fluctuations, and that's really what the chorus pedal does. So what it will do. It will basically copy the original sound and delayed by a certain amount of time on then. This delay time is actually controlled by an LFO or low frequency oscillator, so it's a bit like an L A photo pitch. You can also choose the speed of this on. You can also choose the depth. Okay, so you'll notice. On the left. We have a high pass filter. So what this will do? It will cut out a lot of the lows to anything below. This frequency here will get Kyoto and will not be affected by the chorus. So, of course, is a lot of the time. It does work a lot better on high instruments rather than lower instruments. Lower instruments. When you add this chorus effect, you can sound a bit muddy, which is why we have a high pass filter here. Not a low pass, because normally it won't be used on lower instruments. I'm just going to briefly go over what these things here are, and then I'll go into more detail. If you really want to explore the chorus, then we have two different delays here. Then we have this modulation here where we can choose the amount on the rates. Then we have feedback so we can feed the chorus sound back into the chorus, similar to the feedback on the delay. And then we have dry wets. Let's just go into more detail now about this delay. So would delay one this dial meter. Here we can actually change the time of the delay. That's in milliseconds, and it just got to 20 milliseconds. So let's just play the sleep. Let's listen to see if we can hear this chorus effect when the delay is increased or decreased. So this is more delight. This is less delay. It's also move this modulation matrix here, so this evening may increase the amount of modulation on the rates. We can hear the sunshine. It's quite hard to hear. It's not audible because it is only up to 20 milliseconds. It's a really fast delay, but it will make that Richard Ficker signed with more delay. We also have a second delay here. We can turn this off by hitting off, so this won't be affected at all. Then we have fix, which means we'll still have this delay. But that won't be affected by this modulation. And then we have mud, which means it will be affected by this modulation. So let's hear delay to So this is DeLay two off. This is the lady fixed. So we're getting the delay. It's not being affected by this modulation, and then we have modulation. So the second delays being affected by this modulation, of course, we can increase this high pass filter which basically means just the higher sounds are going to be affected by this chorus people that Daniel noticed the kick drum. We'll get affected by this forest sand as well. Increase this about here. You'll notice that the kick drum will not be affected by this chorus effect. So we have this modulation area, which is really a telephone modulation. So a low frequency oscillator. So this modulates the delay time and creates pitch modulation if we increase the right here or by going to the right to increase more than it will actually speed up the LFO. And if you go appalled and this will increase the amount as well we also have this button here. Times 20 on this switch will give us extreme amounts. So this could be useful for maybe sound design will give us a really fast rates, but maybe not in a regular song. You might not need this, but it's fun to test out. So let's hear it with this air. Times 20 switch turned up some really crazy amounts. Let's just turn the switch off. Obviously get more amount of modulation on. We can increase the rate as well. So we can do this, Eva, by dragging this amount and rate or just by moving this little circle. Okay, going down. We have feedback. So this is similar to a delay Feedback. It will basically feedback into the chorus, so it will create additional echoes. So obviously this is with a lot of feedback. And then as we decrease the feedback and then below this, we have the dry, wet amounts. So if you want only dry all the way to the left one only chorus no dry signal for the way to the right. Up here, we also have thes polarity switches. So we have a negative on the plus. So this lets you actually switch the color of your feedback sound. And one more thing is we have this little button here, which is a link button on what this does. It will set both delayed lines to the delay ones delay time. So you notice delay to if I put this down here. But this delay one up here hit this button, it will just link up. So when I moved delay one, it will moved away to when I moved to l. A to will move, delay one just toe link up. Really? If you want to have the same delay amount for delay one and delay to that's basically the chorus, it can be fun as an effect, but it can also be useful for putting certain instruments. Maurin the mix that can take some sounds down on make it fit a bit better in the mix. Maybe not for drums like this, but for pad sounds that could be very useful for maybe symptom parts. Lead parts chorus can be very useful. So thank you for it's Just Like You all about the chorus, and that's how you can use it in able to Live 10. 81. Flanger: Now let's have a look at the flan Joe Audio Effect. What? The Flanders. It uses a very short delays, and it creates kind of a unique, time based effects, which is called a Flander. The flounder is actually related to the chorus, but it has a different sound. When you hear the Flander it creates that opened down motion that's a bit more extreme than the chorus. The flounder actually creates two audio signals that are delayed, and then we're going to modulate them against each other, similar to a phasing effect. But like I said, it will correct that open down motion. So the flounder effect. We've got a few different things. We have a high pass so we can cut out some of the lower sounds if you don't want them flan Jim, because that can create a bit of a muddy sand. We have a dry, wet amount, so could have it just the flounder effect, or we could mix it with dry signal. Then we have delay time and feedback, which we can also control with this little X Y part here could also flip the polarity of this button. Then we have a standard envelope attack and release. Then we also have an LFO or low frequency oscillator which weaken, sink or we can use hurts. We could choose the shape for the LFO and you can also change the phase on the offset. Let's just hear the flounder and then I'm going to move a few things around So an easy one to hear it is on drums. Obviously you can hear that opened. I'm Motion Way Do have the LFO one as well. We can create quite arrhythmic effect with LFO So let's change this to say 1/8 notes added a new element to the sound so it can be quite interesting Tohave it sink to the tempo to add a new rhythmical element with the l A for a rate so you can even change the delay time down here on the feedback loop, the flan defect back into the flounder effect. Well, we can just ah move this little ball around in this X y pad, so if you don't actually want to add flan defectives some of the low in, for example the kick drum. In this case you can actually increase the high pass filter and then this will actually cut at the lower end. So you notice now when the high pass filters all the way down, you can hear the flattened effect on the kick drum on. When we increase it, you won't be able to hear the flags effect on the kick drum. So going down again, we do have this button where we can actually invert the polarity so it can actually be heard when we have the higher values. If we change the polarity, we can also automate this X Y pads in the arrangement view if you wish as well. So this could all be automated so we can create some call interesting effects for the flounder. So I'm just going to move this little dot around and you hear some call fun interesting sounds you can use by automating this X Y pad. What? So you can use this to sculpt a complete different sound off your instrument with their Flander effect. So going across, we do have this lfo this low frequency oscillator on. We do have different shapes. The standers kind of able to live shapes. We've got signs square triangle, ramp up, ramp down on noise. So the sore tooth and noise. And like I said, we can sink this. We can't have this in hurts and going across. We do have the envelope. So this will actually affect the incoming signal and how it's going to be treated by the Flander. Of course, we do have attack and release as well. That's basically it for the Flandreau. We do also have the face. So they're actually to LFO is going on here on Do we have to signals that created so we can actually change the face 180 is perfectly after face. We can change the face around. So the face is basically where the two signals line up. 180 is completely out of face. Well, we can actually change this to spin mode as well, so there is actually to stereo modes. Here we have the face on the spin. That's basically the Flender. Like I said, it does create that kind of classic open down flanges sound. I'm sure you've heard it many times before, and that's basically what these dolls do and how you can use it in ableto live 10. So thank you for watching and I'll see you in the next lecture 82. Phaser: Okay, Now let's have a look at the phaser audio effect. So phaser basically creates a Siris of deep notches, and we can actually select how many notches we want by these polls. Here. You can also select their frequencies on. We can add feedback, so feed the phaser effect back into itself. So let's just play this drum track. And I'm sure you recognize the face of sound. So the phaser is a modulation effect, and it uses thes notch filters. So what actually does is it removes frequencies off the incoming signal, a move these notches around to create this phaser effect lifts or this phasing effect. So how many polls we have is actually how many notches we want to take away from the signal . When we increase the polls, you'll notice there's a different sound. That's because we're actually adding more notches that are going to be taken away from the signal. So the more notches we have, the more extreme of a result we will get. We have Earth down here on when Earth mode is selected. We will have this color dial, so this will allow us to change the tambra off the phasing effect. We also have another mode which is space. So space is a more extreme mode. So that is the space mode. And let's hear the earth mode. We can change the Tom Brokaw with color and you can hear Yes, space is very different. So the reason it sounds like this is because actually changes the placement off the polls so changes where the notches go in the harmonic spectrum. Uh huh. Then going down, we have the standard dry, wet amounts social strata blend, or we can have it all the way wet. If we choose, then we can chew. Also choose the frequency and the feedback. What? We can just move this little ball here on. We can also automate this, then going down We have the standard envelope on the standard LFO and we also can choose the phase that we can also change the spin amount as well. So going back to envelope, of course, we have attack and release standard with a lot of these effects and then we have lfo so weaken add an LFO amount. We can also sink this to the temper of our project. So if you increase the amounts so we can choose a different shapes. We have signed Square Triangle Rampal rundowns the sores and also noise. So if we want to more extreme elevate, we could choose square because a sine wave will be a lot smoother than the square. Okay, so that's the phaser is quite fun Effect you can really hear on these drums, and that's how we can use it in a Bolton lifetime. 83. Corpus: corpus. So corpus is similar to a physical modeling synthesizer. So what it does is it emulates stuff. So you have four different sections. Here we have the telephone, that low frequency oscillator section. You have the tuning. Then we have this section with the actual emulation going on, so you can choose being marimba, string, membrane, plate, pipe or tube a few different settings. Here we have the X Y pad and then the fourth section. We have a filter. Let's just go through some of this. Let's start off with this middle section here, this emulation section. So here we can choose the material. Let's choose Beam, for example, on Let's play this drum kit sample waken increase the dry, wet amount so this completely changed the sound still get in the rhythm of the drums, but if you listen, it's completely different sign. So this could be a lot of fun that's trying. Remember strength membrane plate Course we can mix. It doesn't have to be 100%. I really like this one. This could be a interesting effect Tube. Let's go back to pipe, then we have to Kate. So you notice the sign will ring a lot longer if we increase the decay on will ring a lot shorter. If we decrease the decay, we can move this X Y pad as well, which will also affect the decay and the radius. You'll notice it will go a lot brighter when we increase the radius and we'll go a bit duller when we decrease the radius. We have the quality here as well. We can choose basic all the way down to full. Then we have a few other settings as well. We have brightness which will appear on some of the settings, but not all of them. For example, on pipe brightness disappears, but on being appears on the other settings will disappear. Now you notice ratio has disappeared and we have a new one called material which wasn't there and pipe. So we have a few different settings for each material. But I'm just going to go through the basics off this. So we have brightness, which will obviously make it brighter, less bright. So when we increased brightness were here some of those upper frequencies Okay, we also have in harm, which means in harmonics. So we get some of those upper harmonics when we turned that up. Oh, and when we put it down, you'll hear some or off those lower harmonics. Okay, We also have listening l and r so listening. L it listening are so this is similar to if you have a stereo pair. So if we have a left microphone on the right microphone so we can kind of change the placements off these microphones, notice on pipe there that these disappear on beam thes do reappear. I'm then going down. We also have hit. So this is the placement of where we hit this material. So that's the basics of this middle section here. Like I said, I recommend going through and trying these different materials and seeing which one is most suitable for what you want to actually create. It really does completely change the sign. But you still get the river may still get some of the sounds of the original audio, but it does really change it. So this is dry on wet. Then we have filter. So whatever is in this area here will be able to hear on different else that isn't in this area will be protected. So here We're cutting out a lot of the highest removed over a lot of the lows and we hear the heist or we can have the middle bands waken change this by dragging the little dot around or weaken drag here to get the hurts on here for the Q. This is different from a regular filter, though we do have whip, which will allow us to decrease or increase their stereo spread. And then we have bleed. This may be great out on certain materials, but if we go to, say beam, the bleed will appear so the bleed will give us some more higher frequencies that may have been lost in the processing area here and then. Of course, we do have this LFO section, this low frequency oscillator which is quite a standard LFO. We have the amount the shape signs square triangle sawtooth unknown in two different noises On the rates, we can have this in hurts or weaken. Sink this to the beat. Then, of course, we have the face on spin, so this LFO will actually move the sound off on down and then we have this pitch section, so let's just turn off this telephone on Beacon. Tune this, of course. With this tune Doll here on it will tell us the notes. But you were training here and then we have fine tuning. This can be accessed via the side chain. If you want to find, tune this incense on, then going down We have spread so spread will separate. The sounds make it sound a bit fuller, similar to a chorus. So these other four sections of the corpus you can create some really interesting sounds of this. I do recommend going through on just testing out some of these different materials because you can get some really interesting sounds. So that's the corpus. And that's how you can use it in ableto live 10. Thank you for watching. 84. Erosion: erosion. So this erosion order effect, what it does is it takes two signals off the material. So one signal will use the rhythm off the material with these different sounds here, even noise, white noise or sign on the other signal will be the material itself will be the signal. So, like I said, the first signal will take the rhythm off this audio. Onda will combine it with like a said, if a sign white noise noise on the second signal will be the audio. So the audio itself the clip Let's go through these free, different sounds. Here we have noise which will produce noise. Then we have white noise, which is the same as noise. But it will give you actually two separate channels. So this will create a wider sound in the stereo mix or the stereo field on the third assign , which is a sign wife with a few different things down here, we can adjust the frequency on the making of just the Mount. So this is the frequency of what we will hear so noise we can ah move the frequency. And we can also mean the width same of white noise and sine wave will just produce a sine wave of sine wave as well. We can adjust the pitch were frequency here, so let's have a listen. I'm just going toe play a drumbeat on. Let's have a listen to this erosion or you effect that starts off with noise. You can hear there the amounts. We can change the frequency. And if we bypass erosion, you won't be able to hear that crunchy noise sound. And with erosion on now, it's just the higher frequencies on the lower frequencies. Let's hear white noise to have wide. We obviously get a wider sound on. Now let's hear the sine wave. We can adjust the pitch with frequency here of the city alone or high pitch on. We can adjust their mark here, So with erosion, it takes the rhythm of our clip, even the sine wave white noise or noise on. Then it combines it with the original signal off the clip. So you get this mix of noise or sine wave, taking the rhythmic elements of our clip and the clip as well. So that's it. That's erosion, and that's how you can use it in able to life 85. Amp: the AMP audio effects, so this AMP audio effects simulates amplifier, so we have a load of different presets. Clean boost, blues, rock, lead, heavy bass. It's not just a distortion effect, because we do have this clean plug in here as well. On the clean, plugging will sound different than not actually having this plug in turned on, so it's quite interesting. It's meant assimilate. Basically a Guitar, AMP or instrument AMP on. It doesn't have to only be used on guitars or bass guitar. You can put this fruit as an effect as well. It can be quite interesting to add a bit of crunch to your synthesizers with this AMP Blufgan. You can also combine this with Cabinet if you want to create a full rig of AMP and Cabinets , because if you look at a guitar amplifier, there's two elements. Really, there's the amplifier, and then there's a cabinet or the speakers. So let's just have a quick listen. I'm going to play this jazz guitar through the amplifier. We're just going to test that some of these presets, Yeah, so that's the clean. I think this is it. With the AMP it turned off so it definitely adds a lot of trouble, adds a bit of crunch and kind of adds a bit of warmth to the sound as well. Let's try boost thing. This is obviously having some distortion blues s so it's quite nice. Tribally blue sound rock. Ah, a lot of distortion. They're pretty crazy. Now let's try lead than heavy on base like a sad You could use this on of instruments or of audio clips. Let's try this through the vocals. The mind is time, the Mind Space or home Russia. Baseless for my taste space. And of course, we have a dry, wet mix. We have volume. We can change the output from mono, or we can have Jewell, which is a stereo. Outputs of mind is time. The man is you have presence, which is kind of extra eking the minds, and then we have the typical free band EQ you of travel. This time the mind speaks. Mid Hora shall be splish from my on base in mind this time, and then we can add some gain as well if want to push it a bit harder for fun. Let's just try the heavy one and let's push the game really hard. I'm just going to add a limiter on the master channels. Well, just in case this peaks minus time but my space so we can get really distorted, effective you want. Let's hear this jazz guitar of this gay and pushed up on the heavy setting so you can get some really wild effects with this upsetting. Obviously, if you have a real amplify it concern, great. If you just want to quickly test stuff outs you can use this AM plug in and you can still get some fantastic results with this audio effect. So thank you for watching, and I'll see you in the next lecture. 86. Cabinet: cabinet. So when we look at a instrument amplifier, So, for example, a guitar AMP. There's two parts in it, Really. There's the amplifier, and then there's the Cabinet. The Cabinet holds the speakers, so this cabinet audio effect is meant to emulate this cabinet. This plug in can work really well combined with the amplifier, but you can just use it by itself. It doesn't have to be with the amplifier is great for guitar sounds. It can also be grateful synthesizers. Or if you want to add a bit of crunch on instruments or a piece of audio, we have this speaker section on the cabinets because a lot of amplifies lots of cabinets will actually have speakers, so you could have won by 12. So one is how many of the speakers and 12 is the size of 12 inch speakers to buy 12. So you have to these 12 in speakers four by 12. So four of these 12 in speakers, four by 10 four by 10 base and then going down. We have microphone, so the placement off the microphones so we can emulate where the microphone actually is going to be placed near on access is nearly amplifier on access, so near off access is near the amplifier, but to the side off access. And then we have far as well. Then we have dynamic or condenser, so we can choose the type of microphone that we're trying to emulate. Then we have output Monitor or Joel, so Jewel will emulate a stereo pair. So two microphones, really and then we have the dry, wet amounts. Let's hear this combined with the unplug him and then we're here. This without the applicants. So let's get this jazz guitar way. Change the speakers. You can hear a different sound as we select through the different speakers microphone so it can sound a little muffled, not as bright when it's off access, which could create an interesting sound. It depends what you want to create compared to on access. Of course, we have far waken choose from denser, dynamic output, jaw or and then below. We have the dry, wet amount of most amplifiers, though most rigs amp on a cabinet that wouldn't normally be a dry, wet amount, so you can put this wetter Mac to 100% if you want to emulate a real sounding amplifier So AMP. Onda Cabinet. Let's hear this without the covenants. So I feel like combining the and Cabinet gives a bit of a richer sounds than just having the AMP. By itself. But of course, it does depend on your settings, and it does depend on what sound you want to create. Let's hear it without the app on Booth and then with the amp and the Cabinet, I just changed the speaker size there, and then the microphone. Uh huh. So combining you kind of make quite an interest in rig. So the Cabinet is meant to emulate the speakers or the Cabinet that holds speakers on revamp. It's meant to emulate the amplifier section and combining you ready made a rig off. Yeah, an instrument. You don't have to only use this on guitars you can use on, of course, basis. Synthesizers, drums, vocals. It would create a richer sound compared to maybe distortion. And of course, we have all these different presets. So I do recommend going through and testing this out on your instruments or on your audio. So thank you for watching, and I'll see you in the next lecture 87. Overdrive: over drives. So we have this overdrive order effect in able to life on overdrive is basically where we push the sound harder than it should, and it would create some distortion or overdrive. So we have this filter here. So what you can do is we can cut out some of the lows or some of the high so there won't be over driven or weaken. Select a band that we want to overdrive. So, for example, the drum kit it might not want to over drive the kick drum so you could find the kick drums . I'm just filter out so they don't actually get over driven and then going down, we have the driver mounts or how much we are pushing get, and then we have the tones. They want to make it brighter or darker. We can move this filter area either by dragging this little duck or we can there, move the queue here or move the frequency here with these dial boxes. If we put the tone up, we were actually get some of these higher frequencies back on going down. We have dynamics. So this is the dynamic range this kind of Ah tiny compressor inside this overdrive, and this will actually alter the dynamic range. So make the lab stuff quieter on the quiet stuff louder. So if you put this up to 100 it will not alter the dynamic range as much. And if we drop this 20 it will alter the dynamic range if more so, if we do want the quite stuff to be a bit loud on the large stuff, to be a bit quiet, like a compressor just dropped the dynamic range. And then, of course, we have the dry, wet amount. So let's just hear a drum kit going through this overdrive order effect straightaway. You can hear it's been pushed all over driven. Let's just turn off the effect just over drive that symbols. Then we can overdrive smooth. Even Mawr brought the dynamic range increase. The dynamic range increased dry, wet. I wouldn't normally use too much overdrive on drums, but maybe for since bass guitars, electric guitars, you could push over drive a bit further. Let's just hear this on this just guitar sample complexion Harder sounds quite nice and crunchy. Let's get some the London So when we dropped the dynamics were actually altering the dynamic range. And when we increase the dynamics, we are not altering the dynamic range as much. So that's overdrive plug in. And that's how you can use it in a Bolton lifetime. Thank you for watching. 88. Saturator: Okay, The saturate er audio effect. So the saturated does it actually emulates analog distortion by pushing the signal above the point where it clips. So we're basically simulating clipping without actually clipping. So if we look at the saturated here, this is actually the point where we clip on. We can push it loud in this to make it sound like it's clipping, but it isn't actually flipping. So I've got some samples here. Got drum sample on a guitar sample. That's first of all, play this drum samples. So this is with the saturate er turned up. Let's turn this such right to one the moment it's not really doing anything, but increases derive If increases drive, we can actually make this sound like it's clipping, But one thing we should do before we actually use a resonator is put on a limiter on the Master Channel. Just in case, because we can push is quite loud and we don't want to blow our speakers. So just before we do any of this, that's just drag a limiter onto our master Channel 10 I put down so it doesn't get too loud on going toe. Push this not really sounds like it's clipping. You could do this with a guitar part. Sound as well turn off the such writer way. Get some really cool analog style distortion with saturate to plug in. So just explaining what some of these dials or knobs do, the drive will actually push our signal above clipping. So this is where it's gonna clip this line here if you decrease it, notice it's not clipping way. Increase it, push above this line, and then it will emulate clipping. Okay, then we have thes two tunnels here we have pre d C filter, which is quite useful for removing some DC offset material in your audio. And then we have the color filter here. If we have the color filter toggled off, you'll notice it will gray out some of the settings below. Okay, then we have base. So this will determine how much off the saturate er effect will be. Increase or decrease for very low frequencies. Okay. And then we have the frequency for this filter here and then the width and also the depth. So the whip will determine the size of the frequency range for this filter on the depth will allow you to control how much this filter will actually contribute to this. Such right to sound so recommends just playing with a few of these just tweaking these by ear. We also have many different modes for the saturate er way. Have some harsher curbs, some smooth curves, more digital sound wave shaper as well. So I recommend going through. These thieves just emulate different analog sounds. So the more vertical we make these ways, the more we're pushing the sound. So this soft clipping sound won't be as vertical as the hard clipping recommend going through these different ones and choosing the one that's most suitable. We could use soft lips, which will obviously tone the clipping down a bit, and we can choose the outputs on the dry wet. So I think the saturate is really interesting. Actually, if you want to kind of artificially create some clippings sound without actually clipping, it could be really useful for guitars, basis synthesizers that can be quite wild for drums as well. So I've just dragged on The Simpsons I love uses, so I'm a big fan of using the saturate er to create that clipping sound analog style distortion on. I think it's most useful for guitar sound synthesizers based sounds. You can even use it for vocals and drums on. Of course, you can move the dry, wet dial here if you want to have a blend of the original signal with this saturated sick. So this is the dry signal thistles. The such reticence a de recommend going through the different styles here on choosing the one that's most suitable for your track. So thank you for this lecture all about the SAT traitor in ableto Lifetime. 89. Resonator: Okay, Now we're going to have a look at the resonator. Well, do you effect? So the resonator is what it will do, is or push certain frequencies similar to an e que however the or relative to a starting bitch. So right now we have this drum parts. Let's turn on the resonator National ads, Simpson. I'm to the drum parts. The first thing you notice is the filter, so we can add a filter and we can choose the filter cut off, and you can choose the filter type. So we have the standard low pass, high pass band pass and notch been going along. We have two different modes A and B. These will create a different sound thistles mode A on my baby. You notice we can choose the decay amount of love way Allow the notes to ring a bit shorter . You'll notice here on mode one, we can actually choose the starting notes. So here we have C two and we would changes to G one. And now we can set the other four pictures here 234 and five relative to the pitch of one. So if you add on 12 here this will add on one active or 12 semi tones from Jason. If you add on five years of seven, it won't add on. Seven semi tones. From this pitch will add seven semi tones from the first pitch increases notice. These two are playing the same note. So let's put this on seven. We don't have to use these standard intervals off plus 12 plus seven, which makes an active on the fifth. We can use some weird strange ones, like minus one semi tones. Want something a bit more dissonance? But for this example, I'm just going to make more of a standard chord. So that's put minus 12 as well. So we have octave below the first note here just for fun. I'm gonna add on one cemetery just to make it sounded. E have to have them all on. For example, we could turn off this number five. The fourth note. We might just want to hear the 1st 1 second the Fed before way change this fundamental pitch. It will change all of these pictures waken play with decay time to make it and we have a few more settings down here as well. Let's just quickly go to dry wet. So if we change this toe wet 100% we will just hear this resonator way. Have drive. We're still hearing a bit of the drum sounds on this resonator doesn't only work on drum sounds. It can work on any audio thing. This is a saxophone sample. Let's go back to drums now, because it's easier. One for this demonstration. Okay, going down your notice, we have a few more Dial's here. Notice we have this button here Constant so this will hold the decay time constant to the actual pitch. So what that means is when disabled lower notes will decay longer than higher notes. So going back to mode up here, a mood is settled a bit like a piano, so the lower notes will resonate longer than the higher notes. A Moby is more flat compared to mow day on guitar or the piano. If you notice when you strum according the guitar or you play a chord on the piano, the lower notes will actually resonates with the K a lot longer than the higher notes. So if you want this more realistic string sound, maybe going no day and you can also going to mod be if you want to flatter sand for the decays. Okay, going down. We also have fine tuning. So we confined to in the different resonator in sentence so you can de tune these resonate er's as well. If you wish on then we also have gained for each one of these separate resonate er's So we have a gain control. So say for example, we want to hear one of these. Resonator is quieter than the rest weaken. Just decrease the game on then the brightness of the resonator can also be controlled with this killer doll. Here it's a bit darker now Waken Brighton. We can also increase the spread here. People at 20 amano signal we can increase the stereo spread The whipped are here. Of course we have gain which will control the game off. All of these resonate er's. And then, like I said, before we have this driveway, that's a resonator. We can get some interest in the facts from this. For example, let's put the wet all the way up again. Even think that this is a drum kit Wei interest in science waken decrease the filter. Qathafi decreases with way. It is interesting effect to play around roof. It can really change the sound. You can even turn certain audio clips like this drunk IP into maybe a baseline or in effect , or a simp sound Just with this resonated plug in. Thank you. Watch this lecture all about the resonator Already effect in a Bolton life 10. 90. Vocoder - Part 1: Okay. Now let's have a look at the vocoder so the vocoder could be used for any audio instrument . It doesn't just have to be the voice, but most commonly used. It is the vote coded or modulated voice you normally hear. Vocoder is where the voices playing a kind of a robot sounds and playing with these cords as well. And in this lecture, gonna show you exactly how you could do that is actually quite simple and straightforward, creating a vocoder in ableto live 10. So let's just go through the things that are on the screen right now we have a drum beats thistle needed for the vocoder. I just wanted the drumbeats just so we could hear the rhythm off the vocoder on. Then we have this audio sample here, which is me just talking on Di. Try and talk in time. I'm against a very code. This speech here, this is of check off the microphone in a Bolton Live 10. So now we're going to add a vocoder. So along with the drum beat, it will sound vocoder it. So let's hear what this sounds like in ableto live 10. Okay? And then we have thes cords here. I talked in some midi information. Just some chords in the key of C minor on the horn sound. When using a Volkova, I was find using horn sounds the best to get that rial classic vocoder sound. But you can use any synthesizer. I'm actually using analog right now. And it's the horn. The free Rizzo symptom brass. That's just a preset. But have a look through. I like I said, I like breath sounds the best. We've oh, coding. But you can use any of the Simpson in able to life, okay? And then what we need to do is deactivate this media information, So just hit this deactivated, but in here because we don't actually want to hear this. I want to send this MIDI data on did their Simpson and into this folk oda. So on the audio track here, where the clippers I've dragged on the vocoder. So what vocoder There's it's an effect that combines the frequency information off the audio signal which is called the carrier with the modulator. So in most cases like the one I'm going to show you in this lecture, the carrier is the external sent through this. Over here on the modulator is the voice, which is this here? So we're playing this audio sample here, and then we really mixing it with the horn sound. So let's go back up to here. There's a few things we need to do to set this up in the simplest way when they go free that over settings here. But let's start off with external, because this is the classic Voelker to sound, and then we choose audio from, and this is where we're going to choose amity, information or audio information from our seventh. So I'm going to choose this one. The horn, the free. So we dropped down here and choose the whole free, and then I'm just gonna choose post effects. Let's just play this back Now. I'm going to play and to play this horn sound and the vocoder, you need the Hornstein playing at the same time, even when it's deactivated. Just seeking here it going into the vocoder, Theo moment. There, you can hear the trap wasn't deactivated. Now let's deactivate this and you hear the vote coded sound. This is a check of the microphone and able to like him. So now we're going to add a coda. So along with the drum beat, it will sound code it. So let's hear what this sounds like in able to live 10. Okay, The first thing you notice here carry it says enhance. So what enhancers is this normalizes the spectrum and also normalizes the dynamics off the carrier, and it makes it sound brighter. So let's have a listen without hands on. This is a check of the microphone in ableto could Here It's just a bit brighter, though, and going down, we have invoiced, So invoice coming useful for filling in the gaps for the F and s sounds. This is a check off the microphone in ableto live 10. It's a good idea to find the balance so it can sound a bit too. S E this is a check off the microphone in ableto live 10 and then we have sensitivity. So this allows us to adjust the sensitivity So 100% This will mean that under voice noise is always on and zero is only the main curry sources used. This is a check of the microphone and ableto lifetime said good going down we have fast, and we can swap this too slow. So this is how quick the vocoder goes between Voiced on Unveil voice detection. This is a check of the microphone. Okay, Going along. We have a few of the things we have this filter section here in the middle here. We could actually hover over and draw in some of these lines, so these lines are actually individual band pass filters. So what it means is these orange lines represent the volume level for each of these filters . Seeing click and drag to move them around, we could just drag to the top. This is a check off the microphone. Second here. Now, if I drag it down, we're here in the lower frequencies. And if I drag you up, we'll hear the higher frequencies if want it back as it was just dragged up again on we're here. All of them. This is a check off the microphone and able to last time going down. We have banned. So this allows us to select how many of these little band pass filters will here on this? Convey between four and 40. So the more bands you have, the easier it is to hear the original signal. This is a check off the microphone in ableto live 10. Let's put it back to four. It was really hard to hear the original signal when we have four bands. So let's put this on 20 again. This is a check off the microphone and a button, then going cross. We have range, so this allows us to actually choose the range that we're going to hear to say. So if we decrease the range, we want to hear the higher frequencies increase the Lois range. We won't hear the lower frequencies. So if it's a bit muddy in the mix, we could also we could increase the lower. And if the high sound is a bit too piercing a bit too tinny, we could maybe lower this as well. Curry like So now we're going to add a pagan. So along with the drum, be it will sound located here. What? This So we can increase the lower If you want to protect some these lower frequencies decrease it, bring back these low frequency table, then we have BW, which is bandwidth. So this is actually the bandwidth percentage, so low percentages will give us a single frequency. Really change the sound. The high percentage will actually overlap some of these frequencies. This is a check of the microphone. I recommend leaving this on 100 unless you're going after a certain effect. And then we have precise and retro retro will give us a more old fashions. Vocoder style sound. This is a check off the microphone and ableto liked him. So what retro actually does is it makes the band's narrower, and it boosts the higher frequencies as well. So precise Will basically mean more precise. All the band pass filters will have the same level on the same bandwidth as well, going across. We have gates, so this will actually allow us to gate out some of the signal. So say you haven't really quite whisper or is a quiet part. You can get that outs. So here, if we brought this to minus, say, minus six, anything below minus six will be gated out on what we're seeing and hearing. There are the frequencies that above minus six. So now guns about the brink, So a long way. Increase this. Okay. You notice it will start to disappear. So the gate is a fresh old which allows it to sets a gate for the band pass filter to notice. If we put this to, say, minus 77 all of information coming through here skating this if we increase this mawr information is lost. Just playing information that's above negative 2.6 decibels. And if we decrease this, you'll notice more information through. This is any information that's above minus 22. You can put it back all the way to minus infinity. This is a check off my play, as it did before. Then we have a level. So this is the output level so we can increase the gain or decrease the game. So that's the filter section. And on the right, we have a few more controls. The 1st 1 is that so On 0% you just hear the scent sound. And if we increase this, we weren't really here. The simple it'll we're here. The high amplitude peaks. This is a check off my it's I recommend having this on the back of the throat and then giving along. We have mono stereo on El in our So for mono But if the carrier on the modulator will be in Modern, so the carrier is the synthesizer on the modulator is the vocal they will both be in mono. Hysteria means Monory modulator and stereo carrier Andi LNR means both the modulator and a carrier will be in stereo. So for this, the modulator is the vocal on the carrier is the scent. So if you look at the vocal here, it's actually in mono on the synth is in stereo, so I'm going to leave this on stereo mode. So if you had a vocal track that's in stereo, I recommended putting on Ellen are. And if you have a Simpson that's a moderate and also a vocal track all ever, your vote coding is a mano. I recommend choosing mono. But for this, Like I said, I'm going to choose stereo. Okay, I'm going down. We have attack on release. So this is how quickly the vocoder responds to amplitude changes. So if we want faster sounds, we have a quicker attack and release. And if you want to respond to amplitude sam slower, we increase the tack or release you can hear the vocoder is responding slowly to these amplitude changes now on, If we decrease the attack and release, it will respond a lot quicker to these amplitude changes. This is a check off the microphone in ableto lifetime. So now we're going to add if I paid so OK and going cross, we have for months, performance will really change a sound. It will make it sound more high pitched or low pitch. So if we increase the four months, this is a check that will sound quite chipmunk like on if we decrease it on average people sound of the sea a lot lower, okay? And then we have the dry, wet amount. So if we have it on 0% we'll just hear this original audio signal. This is of check off the microphone. And if we increase this, we will just here the vote coded sound. This is a check off the mobile phone. So that's how you can set up the classic vocoder sound. In the next lecture, we're going to have a look at its over settings, which is noise modulator on the pitch tracking 91. Vocoder - Part 2: Okay. Now let's have a look at the other settings. Noise modulator and pitch tracking. Okay, so let's first have a look at noise notice. We get this X Y part here so we can move this to modulate the status of check off like phone and ableto light. So noise is really just a noise generator on will manipulate with some noise and then going down. We have modulator. You notice the X Y pod has disappeared now, so you can set this much later up. So the vocoder modulates the signed with itself. This is of check off the microphone. Then we have pitch tracking, which enables harmonic oscillator, which tracks the pitch off the modulator. This is of check off the microphone in able to live 10. So now begins. So along with the drum beat, it will sound vocoder. So let's hear what this sounds like enabled the pitch. Tracking is most suited for Monnet Phonic. Sounds like a vocal. Or maybe a lead synthesizer. We also have thes high and low sliders that Pierre and also these different oscillator types. So the high and low slightest, these allow us to actually limits the frequency that the oscillators will use so high will set the highest frequency that the oscillators will detect and low will set the lowest frequency that the oscillators will detect on going down. We have oscillator, so here we can choose from the different way forms. So we have a sore tooth and free of ah, different pulse wave forms as well. And then we have this pit slider. So this allows us to tune the pitch off this Oslo. This is a pack off the microphone in ableto right, Him. So now we're going to add a vocoder so we can get some quite interesting sounds from these different settings here. But like I said, the most common one is the external, and this is kind of a classic vocoder sound. So thank you for watching these lectures all about the vocoder. And I hope you found them interesting. 92. Dynamic Tube: The next audio effect is dynamic tube, so this is kind of a distortion effect. It's meant to simulate the tube that you're getting amplifies. So this will create a warmer sound than the standard amp or the effect or the distortion audio effect. So this could be used for for bass sounds or for guitar sounds. We want to get that warmer amplifier effect. So let's have a look at the effect. We, first of all, have the dry, wet signal and then going down. We have outputs which will allow us to boost or decrease the volume. Then we have Dr So this is how hard we're going to push this distortion or we're going to push this overdrive. Even if we push the drive sound all the way up, it will not get that distorted just yet. There's a few other things will have to do. Let's just hear this on this guitar sound on divide the cheap. You can hear, add some warmer distortion or warmer overdrive, and then going along. We have tone, so this is if you want to make the tone brighter or not, and then we have bias. This is really where we can push the sound of harder and harder and get that really distorted, effective we want. We also have free different tube notes, so pre different sounds and then going along, we have the standard envelope. We can change the attack on the release as well. So that's it. That is the tube. Like I said, if you want that mawr distorted crazy effect, maybe play around the bias and also have a look at the different tube modes. And obviously we have tone Dr the Volume on the dry, wet mode. So that's it. That's the dynamic to kind of a warmer distortion sound. It can be very useful for guitars. You want that warmer tube effect. So thank you for watching, and I'll see you in the next lecture. 93. Redux: Okay, now let's have a look at Redux. So Redux is a bit crusher bit crusher is changing the bit rates, So when we export our song, the standard CD sample rate will be 44,100. On the bit depth will be 16. We can go higher or lower than this, but this is just the standard. So if we lower our bit death, we get less accuracy unless clarity in our music. So we can actually use this Redux. Plug in to lower the bit depth off clips to create this bit crusher style effect. So when we lower the bit depth, you hear this drop in resolution and it can get a little bit crazy. But it can be really fun as well. So let's just play a sample going to play this drum, be on, then reduce this bit depth. So we have to turn this on festival here. Let's just drop it. You can hear some of the resolution is already dropping, and it can get quite noisy. Let's put it back to 16 so this is quite useful for guitar parts for synth parts. Let's just put this on this guitar pop so it can get quite noisy. And this is really what bit crushing this. We also have this down sample here, so damn sampling will make our sample rate even lower. We can also make it more aggressive if it's on hard rather than soft mode. Let's just increase this to eight on. Let's play around with down sample. Let's hit the hard button. You can hear its more extreme. So Redux orbit. Christian can be quite useful for bass sounds as well. If you want that really crunchy Elektronik bit crush bass sound so we can get some interest in sounds with this book crusher or this Redux plug him are normally use this for bass sounds if you want that really gritty Elektronik bass sound. So thank you for watching this lecture and I'll see you in the next one. 94. Frequency Shifter: right. Let's now have a look at the frequency shifter or you effect so of the frequency shifter. We basically have two ways. We can shift the frequency over here where it says frequency. We have kind of, ah, large amounts and then a smaller amount so you can shift it here or we confined to knit here. You actually create some really crazy stuff. So I'm just gonna play this drum loop now and then began to turn on the frequency shifter so that shift this frequency or we could just find tuna a lot more subtle, but you can still hear that frequency being shifted. So the fine tune is actually quite useful for pad effects. This can create kind of a chorus just a little bit, though not too much. You can also hit this wide button here, toe wide in the sand, wide in the spread, on the with the frequency shifter. With so normally I might use frequency shifter for a pad sound, and I was just kind of fine tune here. There's a few of ah adjustments in a few of the things we have in this frequency shift at the 1st 1 is the LFO, so we have the standard able to live l A folks who have signed square triangle sort of noise, different waves. We can choose the amount here also the rates and hats, or we can sink it to the clock about. And then we can also change the phase 180. It's perfectly after phase. We can also adjust the offset going back to for you could see we also have ring Ring will give us a lot more of an extreme sound. So if you want more extreme frequency shift, maybe changes to ring, this could be useful for sound design or sound effects. We also have a dry wet. The ring is ring modulation. So if you do want TEM or extreme sounds, if you want to create something for sound design, for example, maybe have a look at ring. Normally, I would just use the frequency shifter to just finally adjust the frequency of the second dial here in the shift mode. Like I said, this will create kind of a chorus effect, and you can get some nice pad sounds with this frequency shifter. Also in ring mode, we can add a bit of Dr If you wish, so you can push this harder if you wish with. Ah. Like I said, you can create some really crazy effects with rigging modulation. So that's the frequency shifter, and that's how you can use it in ableto live 10. 95. External Audio Effect: Hello and welcome to this lecture where we're going to be looking at the external audio effect. So the external already effect allows you to at put out of your audio interface and then into some kind of external or the effects such as a guitar amplifier such as a guitar, audio effects or even Iraqi in it, and then output out of this external audio effect back into the input of your audio interface on. Then you can recall this. So once you've got the external order effects set up, the basic chain goes out of your audio interface into the external device out of this external device back into your audio interface. So I'm just going to give you a demo now about this. So I've actually got a small guitar amplifier down here on going out off my audio interface into the input off this guitar amplifier and then out of the outputs or the line out of this guitar amplifier into one of the inputs off my audio interface. I hope this makes sense. So I'm just going Teoh drag over external already effect into this audio track here with the drum loop. So the audio to. This is where we select the output of our audio interface. So you can also play the loop so we can see where the signals going. I was going to play this late night. There's nothing actually coming out. If I select one of these I parts, we are getting signal from free and four. But this is not what we're looking for. If we look on the master here, the master out is free and force to make sure you don't get confused with the master. Right on the audio to the audio. Twose says, actually, come and go to import one on my audio interface. So now if I play the loop, you can see the signals coming through here. We're not hearing anything yet because we haven't selected audio from, so just make sure you don't select the master Out channel here because it can cause some confusion and then audio from we're going to select inputs. So the inputs going to be audio for So I'm just going to turn on this little amplify now and just adjust some of the settings on here. Okay, So I've got some settings coming from this amplifier Just distorted it a little bit. It's added. A bit of crunch can make this drum believe maybe sound a bit more interesting and the audio from I've got it plugged into input for make sure there's gain on input for make sure it's not too high or it may clip. You can control some of the gains settings here as well, and also will show you the peak level, and if you click it, it will reset the peak level. We also have phase inversion you can actually adjust. The Layton see here are getting any latency. You can even select samples or milliseconds, and you can also affect the dry, wet amount here to using this on a sense, make sure the wet amount is 100%. But this example, I'm just going to have the wet amount on 100% OK, and now let's play the loop. And if we affect the dry, wet amount, you can hear the unaffected loop on. Then, if I increase the wet amount, the effective loop let's make it a bit more dramatic so you can really hear this guitar under fire. It's important to make sure it doesn't clip as well. So I'm just going to turn down the gain on my audio interface for this Input four. Okay, now we read to record. So I've got another audio track here. And if we have a look at audio from, we can choose this input free. Here it's Let's choose input. Free this drum loop. So this will record this affected setting now. So this will record this drum loop with the sounds of the amplifier as well. We want to monitor it. We can have in. Or if you want to have auto, we can hear it monitored when it's actually record enabled. So hey, scones hit record now. Okay, on. There we go. It's just a nom this. And now let's just stop all the clips on go between these two ones here. So we have the affected loop and then we have the loop with the external body effect just going to actually bypassed external already effect now so you can hear the two different loops. So this is the original unaffected loop. So this is the effect of loop where we took our signal out off the audio interface into the guitar up than out of the guitar and back into our audio interface and re recorded this. You can hear a difference. You can hear the crunch there. Just close this one. You could just hear this one. So I just put this from loop on the truck below. We can just go between the two second quickly. Here, the difference between unaffected loop on the affected loop. So this is the effects loop on the UN effectively, we can hear the crunch here. This'll is easy way to just use some external audio effects and re record this back into able to live. So I'm just going to quickly go over the chain again because this can be quite complex. So you get out of your audio interface here of the audio too, so that you choose your channel the output for your audio interface, then audio from. So this is the input for your audio interface. And then you can re record this in another channel to make sure you choose the channel that has the external already effect on. So here it's channel free and then re record it into four. Had this makes sense. I hope you find this useful and thank you for watching. So this is how you can use the external or the effect to re record some of your own sounds . Fruit, external gear that isn't inside able to life. So thank you for watching. And I'll see you in the next lecture. 96. Utility: Okay, Now let's have a look at the utility audio effect. So this can be useful if you want to actually change the gain via this dial here. So it saves you actually changing the dial on the fader. So you can't leave this in the same place than just changed the game. Or you can actually use the fader on the mixer for automation. So going down, we also have balance. So this is a pan if we want to open it left or right, and then we have a mute button, so this will mute the channel. The audio was still go into this, but there will actually mute the signal from here. So let's just play this information here and you can see the information is coming through . We played again. There is audio coming free butts muted. We can amuse it or muted. So it doesn't stop the audio playing it just mute sets. So that could be quite useful. If you just want to quickly meet to track or if you want to meet button, you can do this in utility. Then we have d c. This filters out D c offsets on low frequencies below audible range of hearing. So this will take out things that you can't really here. So this is quite useful if you have any DC offset in your audio. Okay? Going along here. We have base mother. So what? This will do anything below this frequency will be mono. We can increase this. You can actually decrease it. So So you've got a big piano sound or maybe even the drum kit. And you just want the base of the lower frequencies to be money. You can do this here. Above this, we have a monitor switch which will actually make your track mono. This can be useful if you have a track that's being recorded. Stereo pits only coming out one side. And above this, we can actually choose stereo left, right? Swap Amano. If it's set to left or right, the notice the Monas which has disappeared because what it will do it will just make the right channel plate now, Lieutenant tomorrow anyway. But just the right channel. And if we choose left, it will just play. The left Channel on will make this mother so stereo we can change this tamano and we also have swap, which will swap the left and the right channel around. Then we have whipped fear, so 0% this will be mono on. 100% will be stereo on beacon wide in this as we go past 100. So this could be quite useful toe have on a return track, and you could send some instruments to this utility plug in. So there's more whipped. And if you create kind of a wider sounds through sends and returns, so this is quite interesting. The utility and then above this weaken swap the polarity. The's invert the phase, each channel left on the right. So this is it. This is utility. Plug him. It can be quite useful if you want to decrease or increase the gain. And it's very useful. If you've had the track say, recorded in stereo, where just the left Channel or maybe just the right channels coming out. You can find it here and you can select one of the channels, and it will make this mano. I've done this before. I've had some audio track sent over that Aaron stereo and is only actually audio coming out from one of the channels you can actually change here. And just so let that one channel. So that's the utility plug in in Mableton, Lifetime. 97. Arpeggiator: Hi, in this lecture, we're going to be looking at the arpeggiator midi effects. So as the arpeggiator is immediate effect, it needs to go before our instruments. So even if we try to drag it afterwards, it will still go before. This is because the instrument or Convert media information to audio information. You can see here the dots. These are the muddy ducts. And out here, this is the audio information. So if I play a chord now, you can see these dots here, which is the media information, and then it goes to this audio information. So the chain goes media effects instrument and then audio effect. So what an arpeggiator basically does, it plays the notes of a chord separately. You can select the order you can style, you can select the groove, it can even select the distance and how many octaves this will be transposed. And in this lecture, I'm just going to show you how you can use the arpeggiator and able to life. So I've just got a piano sound here. If I just disable the arpeggiator to assemble piano sound. And I've got this loop here. I'm just going to play these chords now. So if we turn on the arpeggiator, it will play these chords. However, it will play them in whatever order we select. So the first one will be up. So play the chords up. So let's hear this. So what that basically means, it will play from the bottom note going up and then down. This will play from the top note going down. And we have up and down. And lows over one's down, up, up, down, converged, diverged. So apply the inner and outer notes first. They'll play the inner notes, go into the outer notes and vice versa. Random chord trigger. So you have loads of different styles we can go through. Then we have groove if you want to swing this. So this will give a bit of space between every eighth notes and 16th notes will give a bit of space between the 16th notes, creating a swing sound. You could change the rate here. And this will sink to the clock of our tempo. So if I play it kick drum now as well. And we change this to straight guys be playing every beat of the kick drum because it's 1 16th note, change 2 eighth notes. And we'll plan every eighth note. You can also click this button here and it will be free. It will play the arpeggio as a rate in time rather than sinking to the clock of our tempo. Then we have hold. So when we have hold enabled, the pattern will continue to play even when the notes are released. So I'm going to play a chord on my midi keyboard now, and then I'm going to release it straightaway, but the pattern will still continue. So let go the notes and the pattern still going that. And then I unchecked hold and the patents stopped. Let's just change this from free back to sink. And let's choose 1 16th notes. Going along we have gate. So what gate does is it sets the length as a percentage of the note itself. So anything above a 100 will be quite legato. So let's say this would be a lot smoother. And let's decrease this. There'll be more staccato. Notes after awhile will start to overlap. Let's just put this back 250. Think of this gate knob a bit like a sustained pedal. Then down here we have re-trigger. So re-trigger is when we actually re-trigger the arpeggio pattern. So we can choose beats and you can choose the beat. So one is every bar. So we can have 1 eighth notes, it really triggers or every bar, or every three bars, four bars. So I'm just going to choose one bar. I'm just going to play a chord though. You can see when it read triggers, the yellow light actually flashes. Can, we can re-trigger on notes. So every note that replay and add a new note or move to a different chord. It will trigger the pattern. And then we have off. So it went re-trigger. Okay, going along we have repeat. So this is the repeat doll. So at the moment is I and F, which is infinite. So when I play it, it will just keep on repeating infinitely. That's why when the hold was selected earlier, it will just keep on repeating. For move this up to say one. It will stop after one repeat. Let's move this two to repeat after two. Let's move this to say 16 and are not playing the midi keyboard now it's just repeating itself. And then we'll stop after 16. So it's actually 16 measures through the pattern, it will stop. So this forces, this will be four measures through the pattern and back to infinity. And let's turn off hold. Okay, then we have distance going along. So this distance is how far the pattern can go in semi-tones. At the moment it's 12 semitones, so the pattern will go one octave to move it to 24. Passing go up to two octaves. Can also go backwards. We can have negative 24. If you double-click, it will go to the default which is plus 12. Going up, we have steps. Steps is the number of times the pattern will transpose. So similar to distance. So that's choose say one. So this is how many times the pattern will transpose. So a transpose one op plus 121 octave. I'm going to play a core. Now you'll notice it will transpose 12 semitones and then open up to as well. So I'm going to move this distance down 12 semitones. And you'll notice it will go down up to this time. And we can do the same. Let's sleep on a default 12 and move this up to eight. And you'll notice it will go up a lot more L transpose eight times, open octave, and double-click it back to 0. Going up here we have transpose. So we can choose if we want to shift off one's gay major or minor. So shift will go in semitones, a major, a minor will go diatonic, so it will go with the key. So if I click on major here, the key of C and distance as one. Obviously got one octave. And now let's change the distance to plus one. So this time it will go up instead of one up to the plus 12 plus one. This isn't a semitone. Let's just turn off arpeggios semitones. This side is doing this, which is a tone which is actually two semitones. The reason is doing this is because a transpose is set to major, and it's going through the diatonic scale of C Major, which goes C, D, E, F, G, a, B, C. So it goes from c to d. And if we change this to say two, it will go from C to E. Britches seats a. Okay, and then let's say we play an E going got plus1. This is a semitone. So if we turn off the arpeggio is playing this, which is a semitone. The reason that's doing that is because the notes E and F are both in the key of C major. So this is useful if you want to transpose in either major or minor case the same a minor. But this time if I play, say, a day and I got the distance of one, it will play a semitone. However, if I play it, you flat, it will go up a tone. So basically this transpose, it'll play the notes in the key rather than semitones. But if we go back to shift, it will just shift in semi-tones again. Okay, now let's move along to wet says velocity. Let's just turn this on and what the velocity area will do. But allow us to actually decay the pattern over time. So we can make it gradually gets soft if you wish. So that's changed, a decay to say two seconds. And the target, which is from 0 to one to seven, which is the media information. Let's change this to four. And now when we play our pattern, it will gradually get softer. We pull it down to 0, even fade completely a wave to 0 because 0 is off in media information. And we can even read trigger this after every note if you wish. So every chord, you'll see this little yellow flash here, which means it's going to re-trigger. And notice when I've put it two beats and then puts a half a bar, it will re-trigger every half above. You can make it even faster. Eighth notes, obviously steadfast day and it just reach your aggression. But we can go for an explore so you can re-trigger this and have the velocity decrease if you wish. If you want to have a bit of a fade effects. So that's the arpeggiator, and that's how you can use it in Ableton Live, Tim. So thank you for watching and I'll see you in the next lecture. 98. Chord: Hi. In this lecture, we're going to have a look at the cord midi effect. So let's just go over too many effects on drag on the cord midi effect, which will go before the instrument here, which is just a electric piano preset. It sounds like this through. This is me. Just playing one notes what the court media effect will do. It will actually shift Oppel down a number of half steps to allow us to create cords. So if we just click on the 1st 1 here, we have up to six. I'm just going to drag this up to Plus seven, which is a perfect fifth. So if I play that note again, this see it will play a perfect fifth as well at the same time, which is a G. So if I play this now, just one note will play two notes. We could also drag this up, say, an octave 1 12 that's going to play three notes on def. We drive the third wrong up, Say, plus five way have up to six so we could try or experimental ones Kameda second as well, and we also have these velocity controls here as well, so you can balance the levels. Sometimes you might not want it as loud as everyone. So you could just change the velocity to say you have this one a bit quieter on Let's say Okay, so that's the cord media effect. Thank you for watching. 99. Scale: Okay, Now let's have a look at the scale midi effect. So the scale midi affect does. It allows you to choose scale on. Then all the notes you play. We'll get forced into the scale so you won't be able to play out of key. Essentially. So right now this is a chromatic scale, suits all the notes on the keyboard. So if I go up on the keyboard and play all the notes, you'll notice all these blue lights would light up as their played Theun back to see again . So we have lows of presets here. So if you're not that familiar with music theory, I do recommend going through some of these presets. Let's pick an easy one C major on. Just direct this over on this will actually play C major. So if I play the notes in a C major scale, which is just CD E f g A, B and C C. The notes about down ago, five playing notes that isn't ensue. Major, for example, D shop. It's actually going to play a day. If I play see shot, you'll play a C so we can't actually play out of K. So That's basically what the scale plug in does. It just allows you to stay in key. Really? So I do recommend going through these scales. I'm not going to explain all of them. There's a lot of different scales. Some I've never actually heard off some strange ones. Ukrainian Dorian Scale. Not sure what that is, but let's drag this over so you can see a Ukrainian during scale. So if I just play notes in the C major scale now going to play some of these just quite interesting. If I play court, will you play the chords in this Ukrainian Dorian scale? So I recommend going through some of these. This could be quite interested because normally I wouldn't write sung in this scale. So this allows you to actually experiment of new scales, new ideas to thank you for watching this lecture. Just all about the scale midi effect 100. Chord, Scale and Arpeggiator: in this lecture, we're going to look at combining the cord that scale on the AARP educator MIDI effect. The reason we might want to do this is if we using cord. Sometimes it can go out of key, especially if we're using thirds or seconds. It's not always going to be in key, however, if we use this with this scale, media effect as well, all these chords will actually be in key. You can choose your key from the list here from the scale presets, and then we can actually help educate this just to make it a bit more interesting just to get some movement. So let's just try the cord with scale to start with. So I have a perfect fifth going up on Active. A major fared, or it could be a minor fed when we go into the scale, and then we have a second, which is a knife as well, if you put it up. So plus 14 let's do that. The case. So I got a court No. So when I play a note, it's going to play a chord on this cause going to fit in the scale of C minor so this could really help. If you're new to music theory or even if you want to experiment of some of these kind of unusual scales as well, you can go through some of these experiments. You could try, say, augmented scale, blues scale Flamenco mode is lows of interesting ones here, So I'm just going to stick with the C minor festival is going to play the first note. You get some quite interesting court. Theo. That's just me playing one note at the time. Then we can put this through the arpeggio later. Let's just increase the gates on. Increase the rate to 1/16 notes. Now let's just play one note at a time thing. Eyes something is playing one night at a time, and this is creating a cord which forces it to fit in the scale of C minor and then them actually arpeggio hating this cord so it gets some really interesting sounds just by literally hitting one note at a time, just going to lower this toe. 1/4 notes Increase the gate. Increase the step on. I'm going to choose another scales. Well, let's try this gypsy scale and just drive this in here playing one note at a time way. Get some really interesting times. This isn't just for people who are new to music. Very. For example, I wouldn't really think of using a gypsy scale and then and that arpeggio eating it you can call of some new interesting ideas, which is one of the great things ableto live, allows you to kind of call of new fresh ideas by using these media effects. I'm just playing one note at a time. It's going through the court, then this Gypsies girl and then the arpeggio later. So that's how we can use these free media effects one after the other. Just make sure you have it in this order called first, then a scale, then arpeggio data and then have your instruments. So thank you. Fortunate lecture just how you can use the cord with scale on the arpeggio data to create something really unique hands also large is to make music really fast and really easily 101. Length: Okay, Now we're going to have a look at the note length Midi effect. So right now here, I've just got analog preset. Just the bass sound. We're going to drag on this note. Left plug in here. What? The note left really affect us. It will alter the lump of incoming midi notes. So I've just got a simple baseline here. So if I just play this night here, we could edit a leftover notes long ago. Shorter way can choose time. Weaken, sink, Teoh, Block of the temple courts notes longest all the way up. So you want 64 so you can choose between time and sink. Then we have gate going down. This works with left, so 100% will play exactly what's reading here. So let's just put this type in here to 100. So 100% will play 100 milliseconds. 200% who typed the sin will play 200 milliseconds and then 50% will play 50 milliseconds. So let's just put this 200% and let's play the smooth. Let's change this to sink So 1 24th If this played at 100% it will play on 24th puts 200 will basically be half that speed. It will be 1 12 Remove this to, say one. Acres Gates 200% will play 1/4 notes. Let's just put this to one hundreds on, then this to quarter notes. So if we put this at 1/8 at 100% increases 200 clay, 1/4 nets. So just the way it really to change the gate time that links up with lamb if you don't necessarily have to use this If you have, you're Lemp already sets to where you want it. But Gate will just quickly allowed to fine tune the gates so you could have won six teams, but maybe slightly more say, 100 8% at 16 teams. You'll notice going up aswell. We have this trigger mode, so we have note off a note on what notes off mode will do. It will generate new notes where the current notes end, so basically we end up with a different pattern. Things can be quite interesting just to come up with some new patterns and also note on the means when you play a note. You're going to get a note so going over note off again. So this means when you let go over note, you'll get a notes so it can give some interest in sounds. Normally I leave this on note on, but feel free to experiment. You also noticed that when note off is totaled, um, you'll have this release velocity indicate time and also key scale appear so going along we have released velocity, so this allows you to change the velocity off notes coming out. So if we increase this, you'll notice the notes will get softer way decrease. This you notice the notes won't be a soft okay and going down, we have decay time. So the decay time is actually the decay off the velocity amount starting from when the original note would be triggered. So say we put this two K time at four seconds. If you press and hold a key for two seconds, the decay will be halfway through when we let go. So basically, the decay time starts as soon as we let go off the note that we've pressed. So if this is at 60 seconds, unless you're holding a note for a very long time. It won't really affect much on the more we drop it, the more it might effect on underneath this. We have key scale, so the pitch of incoming notes can be used to alter the length of the output notes, and that's basically the note left. Like I said, you can get some interesting effects when you are our note off mode. You do get the release, the decay and the key scale appear, and this is with the trigger. It's a lot easier when the notice on say, you have a baseline like this and you just want to quickly make these Midi notes longer. You can do this. This could be useful for life performance. So you're playing third base part. Decrease the time Life. That's basically how we can use the note length in able to live temp. So thank you for watching this lecture on. I'll see you in the next one 102. Pitch: Okay, now let's have a look at the pitch Midi effect. Let's just drag this before this analog precept, this bass sound. So the pitch plug in just has this one simple denial, and this allows us to quickly bring the pitch up or down before it reaches the instruments . So I'm just going to play this baseline now. If I bring the pitch up along the way, I won't play because it will be very high, but all the way up to 128 semi tones and Darren all the way to 128 semi tones so you could put it down. Adoptive minus 12. Things could be useful for life performance. If you just want to quickly dial's something got productive. You could do this gradually. You could map this to a MIDI controller. You could even map the on off to a button on your MIDI controller secret. Turn on the pitch, turn off the pits so an instrument could quickly go a productive or Daniel active or whatever ranges you select here. Going down. We do have a pitch range feature, and we can also specify the lowest note. So if we drive this up, we won't actually here. And he notes, You can see here when this is flashing. It means it's actually cutting out the note. We can't hear the note on when they bring this down. The baseline comes in again. Increase it. So it's only allowing a few of these notes only allowing these higher notes here. It was actually cutting out this low see, So if we decrease this to see will be able to hear it for increased it. One more to see shop the seal become so this could be useful If you just want to cut up some of the low parts, quickly save a life performance. You just want to cut out some of the really low bass notes. And then you could put these back on again by midi mapping this selector here by telling it on or off so you can also bring the range down. So if it's set to say plus 12 nothing above one octave range will play. So I'm just going to put this to plus plus free. Now I wanna play. You can see here, but this flashing means it's actually taken stuff that's actually doing something that's quitting at the high end. Those now it's just playing the lower notes because of this range increases range you can hear plus six semi tones playing them all apart from this last night. So if you go back increases to eight, you will hear them all. So range just allows you to select what range of midi information will actually be heard. And then the Lois will allow you to select the lowest note. So this can be useful, I would say normally for life performance or if you just want to quickly here, what part will sound like we have a tighter range like cut up some of the higher notes or protect some of the lower notes. Of course, you can use it. Just dio quickly crank up the pictures. Well, maybe if the buildup she could add pitch plug in. This could be useful for, say, snares. If you want to build up the snare sound or of instruments, recommend using this pitch media effects. So thank you for watching and I'll see you in the next lecture 103. Velocity: Okay, Now let's have a look at velocity. Let's just direct this over to our truck before this base simp. So the velocity is basically another way to make a midi parts more dynamic. And here we have an X Y pod and we have a few different controls. So the X Y part here. So the income in velocity is the horizontal access on the outgoing velocity is the vertical access. So a diagonal line like this represents unaffected velocity values. So velocity is kind of a midi volume for each individual notes. It's kind of how hard the midi note was hit. This is normally what I think of when I say velocity with my midi keyboard. The harder hit it, more velocity you will get the softer you play it soft of lost to you again. You can also adjust the velocity with this midi effect, so this could be useful. If you don't have a media keyboard and you want to add a bit variation in your velocity, you can do it with this midi effect going down. We have operation, so we have both. So both is feel notes on and off, then going down we have velocity which will only apply to your midi notes on. Okay, then we have this relative velocity. So this is feel notes off messages and then we have both. So I'm going to leave this on both Onda. We do have this little graph above this x y access. So, like I said upwards is the outgoing velocity. So the velocity going out on bond horizontally. This is the incoming velocity. So if you change out high so if you change number of this, you can see this graph moving like so. And if we change the out low, you can see the graph moving like this. So this line represents the rangers are velocities that you can hear okay and going down. We also have this random knob here. You'll notice when you increase the random knob. This gray area appears so as you increase that the grey area gets thicker on as you decrease it, the great area gets finner. So when you increase it, this is increasing. How much of the variables and the note she may here so it can play some of these velocities as well randomly. When you decrease it, it's less randomness. So if you have a really robotic pass and you want to make it sound a bit more human, you could always add a little bit of randomness, because when the human plays a part, it's not going to be the exact same velocity every single time. So this can add a little bit of dynamics in your media information. So next to random, we have range. So here you can set the range of velocities that you want to hear. So obviously, if you decrease this range or see this line appear on their know, velocities will be allowed to play over 31 and the lowest you'll do the same. You see this line appear here, so no velocities will be able to play the low 28. So now we have a really tight range of velocity only between 28 38. So if I play this clip now, you hear the velocity is a pretty similar even want to increase the randomness because the range is so tight. If I increase this, if we play around with this, if we increase the range and we moved out high and out low will get Mawr randomness enough velocity range. Let's just decrease this range here on increased the low and then we have free different modes. You have clipped gate and fixed. So what clip will do is it will just clipped the notes. So anything higher than 55 or get clipped at 55 if in lower than 20 will get clipped at 20 . Then if you go to the gate mode, What this all actually do is this will just cut out the notes that above 50 or below 20 and you'll see this little flash here, which means it's actually cutting or gating. These knows what you can hear now the notes that actually fit the range between 20 and 55. So I only these two notes here on this note here to increase this increase these you hear nothing for decreased these you can just hear the one. So it has been between 20 and 55 to be heard. Let's change this one. So now you can only hear the notes that played between 20 and 55 and it also randomizer velocity here as well. But they won't play the rest no matter where the random novice, and then we have fixed. So fix will actually fix this velocity to the out high. So if I put this all the way down to, say 18 you'll play with low of lusty for increases. The 1 to 7 of a heart of lusty just increases filter frequency filter, velocity. Now that's how you can hear the difference. And if I increase this, of course, we have randomized on this. Well, if I decrease this, if it's zero, it won't play any velocity because zero isn't anonymity. Information that someone will play with minimal velocity increases. This'd useful. If you want to have a fixed velocity, all your notes. This could be useful for a lot of electronic music. Of course, we can increase around them this as well. So we have a fix for Lost A. But also add some randomness. Let's change this back to clip because when it's on fixed, we don't have drive. We don't have comp. We don't have out low. We do four gates on. We do for clips. Let's go back to clip. So we have dr here and then below. We have comp, so camp is short for comm pant and it's both an expander and a compressor. So if you have positive values, it will expand a negative. Values will compress. You can see this line in the graph change here. Can you drive as well? Dr. Will push to the more extreme, so make the lower of notes even louder on the soft notes. Even softer. Of course, this will work in gate murders well, but that won't work in six mode to play around with the drive and the comp. Remember, have expander post if compression negative. It's quite subtle right now with this part. Feel free to get for you. Well, the main things I like about this velocity effect is a random that, seen at a little bit of randomness to your many notes to make it sound a bit more interesting and add a bit more dynamics before it even goes into the instrument. So thank you for watching this lecture all about the velocity midi effect 104. Quantize MIDI: Hi. In this lecture, we're going to have a look at Quanta izing Midi, so Khan ties Ing can be used to fix rhythmical errors and can also be used to improve the groove. So let's just open up this midi clip. I just played in some notes. It's just Suman. Zoom in on the side as well. I noticed there that keys actually disappeared. As we zoom in further, the keys will reappear. If you scrolled, I'm you'll notice I have some notes here. They're pretty much in time. You can see the slightly off. I'm just going to play this back to, you know, with the Metrodome on so you can hear the timing. It's not bad, but it's not perfect. The timing could be tightened up. The easiest thing to do is you could just drag the notes on, move them in place. However, there is a easier way to do this, and this is by quanta izing the Midi. So to do this, we have serious hit command A. To select all of the notes. If you want to quantas all of the notes and then right click on, then go down to Qantas settings so we have quantum size, then Qantas settings. Qantas settings will give you a fuel settings to work within just quanta izing to the default. So Khan ties settings will quantities to the current grid. You can choose the note amount on, you can adjust notes started, end so the start points off the note or the end point of the note on the amount. So I'm going to actually Kwan ties this to 16th notes, and I'm actually going to adjust this to 85% because I still want a bit of human element in this. I don't want it to perfect or too rigid. So 5 85% cuantos it will still have it slightly off, which will make it still sound in time. But we'll give it that more human feeling, a bit more rhythm to the music than just being perfectly in time all of the time. So let's say okay and notice now you can see it's a lot more in time if we zoom in, though you can see it's not perfectly in time. But if we play this back sounds a lot better than before now. If we can ties so right click and go to Quanta Eyes. Or we can use the key command command you. It will actually Quantum's to the default settings that we have created or the last settings we created so quantities to 1 60 of notes at 85%. Now let's actually contacts the end off the notes. This isn't that useful for drums. But say, for a keyboard where you want the notes to extend out to a certain length, this could be quite useful. So I'm going to select all command a then right click, go to Qantas settings. Now I'm going to change this to 1/8 notes on ends. We're going to change it to so just the end and you can see here it's actually move them quite a lot in some areas. So sometimes it's not always exactly how you want it, depending how you play in. So I'm just going to hit commands, ed and go back to Qantas settings and changes to 60. Thanks. Sometimes you might have to actually go in and trim what you want to change. For example, I want this to go back about here, this one slightly back now. When we play This should sound a lot more in time, but still have that human elements to me. The information. So let's hear this back. That's basically how you can contact ice. Kind of the quick and easy way is just hit command a command you so command a will select all and command you're quantities. But if you want to customize your quantum ization a bit more, just hit command. A right click. Go to Qantas settings. So here you can choose Kwan ties to, so you can choose your note amounts. You can choose the start or the ends on. You can also choose the amount which will allow you to leave a bit of human elements in your performance. If you did play in on the media keyboard, so I normally like to leave it between 80 and 90% and all we have to do is here. Okay, that's it. That's hoping. Contact you and me. The information in a Bolton lifetime 105. Quantize with Grooves: Hello and welcome to this lecture where we're going to be looking at Quanta izing with groups. So in able to life, you can actually use grooves to give our media information and even our audio information some river andi make it a bit more interesting than what we previously had. It ableto live, actually has a whole collection of different grooves weaken use and simply just direct them into our MIDI or audio clips. It's actually really straightforward. So the best way to do this is to go to the search by here on typing a g R. So this is the file type of four. These groups then go down to all results, and here we have lows of different groups. We've got tons of them so we can preview some of these it just play the group. Obviously, we're gonna be inset to our media audio. It's not going to send that that that's just the grooves. You can get a quick feeling of the group. So we have this percussion track which is created in the drum rack. I just quickly built this just for this example. Okay, Really simple. Hasn't really got any group or any swing on what we can do is just simply just drag this grieve onto three Midi flip and now we're in the double click on this. It would look the same, but when we play it back, does that sound different? You have to hit the commit button and then this will change the media information concede this one's moved over. So is this one, So I can go down to the groove here and choose even none or the grief so you can stack up quite a few of them on Just Go You between them. So let's try and everyone Let's try this a free jazz bongo Drag that over now when we click here, we've got to We've got 100 Belgrave, Afro Jazz Bongo. Let's try the Afro Jazz Bongo When we hit Commit, You noticed this moved as well. Let's try one more. That's fine. One a bit different. Hip hop funky. Okay, let's try this over as well. Choose hip hop funky it commit. You can see moves as well. Now let's play this back a bit more aggrieved. Going now. You can actually open something called the Groove Paul, so it's actually this little wave button here you notice we have the free different ones We have the bell groove, the Afro Jazz bongo and the hip hop funky. We can also open the groove pool I'm here If we go down to open groove, pull on the clip. Let's just drive this down And here you can see the groove pool So we have a free, different griefs. We have some information about each one as well. The 1st 1 is base, so this gives us the rhythmic value that the groove is applied to. At the moment it's someone 16th then we have Kwan ties. So this will actually pretty quantities the clip before you apply the groove to it and going along, we have timing. So this allows us to adjust how much this actual groove will affect any clips we apply it to. Then we have random. So this will allow us to randomize how much that grew fell affects the clip and then going along. We have velocity, so velocity allows us to control how much any off the velocity parameters affect the clip. Then in the bottom rights, we have the global amount percentage. So this allows you to set the global amount for any of the grooves that we use in any of the clips in this whole set. So we can actually go above 100%. So above 100% will actually over accentuate the grooves. So this is the group spool weaken dragger grieves in here. One thing we can do as well as actually let's open up this clip. I'm going to move a few of these around. I create my own grief. It is a bit more obvious with that one back here, face a kind of made my own group have adapted that one. Let's hear it back. Okay, now what? Weaken day as we just drag this midi clip or just click and drag into the groove Paul and it comes up and says Grooves. So if we hit, commanded are we can rename this I'm going to call it my grief There we go Have made our own groove If we hit this little button here actually save this is a default groove so saved as my griefs And now I've got my own prove that I've created what we can also do is direct This onto audio information. So here I have, ah, tarp up. Just a audio clip, actually drag on the group I just made onto this audio clip, and it will play a slightly different with quite hard to hear. It would be easier to see. You'll notice it hasn't actually done nothing for Clifton grooves here. All the different groups will appear. Let's choose my grieve and now let's hit commit And it's actually a added walk markers on what? The groove. That's what it just with the audio information. It will actually add what markers on what the group that's fine and never sample. That's fine. Drums is typing drums really simple. One on Let's Drag over the group is well into this one. Now, if we hit commits in the clip, you can see it's moved some of these fort Let's play this along with the over drum track, the MIDI information. So these graves are a powerful tool to actually improve the feel of your project. I had a bit of field to your MIDI or your audio clips. Make them a bit more interesting, and you can come up with a really interesting ideas because unable to live. You can use some of the existing grooves, edit them and create your own grooves, which could be really interesting. So thank you for this lecture on. I'll see you in the next one. 106. MIDI Mapping: Okay, Now let's have a look at Midi mapping. So this is where we can actually map Amity controller to control. Will certain parts off a synthesizer or certain controls set a Mac crows that kind of thing . So it could be really interesting for life performance, and it could also be interested in for playing your arrangement and then just change in certain settings around and then recording in these settings. So to do this, we even hit this middle button up here in the top, left on anything that's purple can actually be midi mapped, or we can hit command and M or control. And then, if you're on a PC now we come up any of these two amity cable. But first of all, I need to make sure Amidi cabled is set up. Val. It can be media mapped, so let's go over to live in the top left, go down to preferences, choose link midi and make sure remote is selected. So in the end puts let's make sure we've got remote selected on this will allow us to actually control certain promises in able to live with our media keyboard. Okay, so let's hit command them. Andi, I'm going to select this frequency here. Filter frequency. And then I'm going to move a doll on my midi keyboard and you can see it appear here. Filter for you, consume. You can choose the minimum and a maximum. So I'm gonna have them the minimum say to 60 in the maximum here, then hit Commanded them. And now when I move this style, it will move this frequency dollars. So I'm just going to play a note now. Like so. If we go back to many mapping but the middle button or command and we can choose the minimum and maximum, let's change it a bit more. Now let's close this command them Onda were playing notes. You can have a more dramatic movements can actually map two different things onto the one control as well. So I'm skint. Er, actually map this resonance. So I'm going to move the same doll now and here we can change the minimum up to 100 then the Maxwell down. So let's commander them again. And now when they press Amidi cable to move a dollar, you can see as the frequency goes up, the residents goes down when the dollars up, all the way, the frequency, who will be up all the way and the residents will be done. And as I bring the frequency dime the residents will increase so you can get some really interesting sounds and effects just by many mapping and moving Wandell. So if we want to create Iraq, I just press command in G and that will place this in the investment rack. We can also midea map a macro. So let's look at these macros here. So let's actually map a few things to a macro. Right click map to macro one right click mapped macro one right click on that macro one. Now we can actually map this macro. To make things a bit less complex would be easier to understand. Now I'm going to make another dial. So when I move this dial here, well, actually, move the active cemetery under de tune. Okay, so let's try this now. This may sound a little crazy when I made the 1st 1 but we have the residents and the frequency in the 2nd 1 The actives, the semi tone on the D tune so you can create some crazy stuff there. So that's how we can use midi mapping on our synthesizes, and you can also use it on racks, not just the instrument rack. Weaken. Deal in the effects rack we can do on the drum rack, and there is a lot stuff we can meet him up. So if you hit commanded them, anything that's purple could be midi back. That includes launching clips that includes the faces that includes the pan, anything that's purple and that's how we can Midi map in able to live 10. 107. Max Introduction: Hi and welcome to this lecture. We're going to have a look at a quick introduction into Max for life. So Max, for live, is a tall to create devices for life performance and for production. The max for live is included in able to live 10 sweets you get or the effects we get instruments on. We get MIDI effects. So the media effects we can put before Amidi instruments on the audio effects we can put after on audio instrument or after a software instrument or a MIDI instrument once is being converted to audio. So let's actually management a regular instruments on that is going to drag this on to a MIDI clip. And then let's get Max for live. Let's get midi effect and just drag it before the instrument. Let's try a few one. Just say Comptel, they do actually look different. You can stuck these up so there are quite unique each one and there's just This is a period as well, so we do actually have controls some of these that appear in the window, So this one is a clip loop monitor. It's a really big clip. You can see this appears on the monitor. You may have to go to their ableto website to get some additional max instruments and max effects because no, all of these will be included in live. You might have toe get Max for life packs able to dot com, as it says here. And if you go into some of these max packs, we can hit this little button here, which will bring up the device. Let's have a look at this on here. You get it may take a moment to load, and then we get a few controls so you can kind of design this and go in and edit it in the back end so we can hit this button here patching mode. You can see how this is actually being created, so it's quite interesting to see inside this effect see what's going on. Look under the hood, even Davison. Everyone as well. This little button may take a moment to load. You hear me? OK, here is inside. Max on hit the patch Imo button on this one's a bit more complex, can open up to see a bit more, and this can look a little crazy if you're new to Max, especially this on this one. That quite complex. This might take you a while to build, and then let's have a look at this one as well. But this lecture is really just the introduction into Max for live what Max actually is. It's really a way of you looking inside the SIM for inside their effect on kind of working out What's going on? So this is just a quick introduction. Max is very complex, were not kind of you covering it all. And I just want you to know what Max actually is so you can actually get some really cool, unique effects and unique sounds and unique plug ins from able to live. If you want to get some more packs, I recommend just playing around with some of these, having you look at them looking inside and then testing them out, exploring Max for life. But this letter is just a really brief introduction of what Max is is basically just a tall to create devices for multimedia production life performance that allows you to look inside the symphony, even change part of it in the back ends. That's really what Max is. So thank you. Watch this lecture. Just a quick brief introduction into Max for life 108. Export Settings: So let's have a look at exporting your track. So say you've created your truck in the session view and recorded it to the arrangement view or made it just in the arrangement view. This is how you can export. So here we're in the arrangement view. Then you need to drag the parts you want to export. It's a good idea to select after your material, so the reverb and delay sounds that actually extend past the last clip or included in the rendered file so it can do is always go back and lesson. Find out where the last sound fades away. So it's about here. So if we drag from here with start and then just go to file export audio. So the rendered track we want to render the master. This is unless you want to export separate tracks. But here we do want to render the master. So let's True's master when the length we have starts and then the finish. So even has it here. We could track it further along if you wish, but we selected exactly the right place, so let's leave it on here. 40. We're not going to render is a loop because we want to render a song. We're not going to convert this to monitor because this is a stereo track not going to normalize. So normalized will make your track louder. So it's not ideal for giving tracks. A fully finished sound normalize will get rid of a lot of the dynamic range on. There also won't be much headroom, so if you do want to master in the future, I definitely don't recommend normalizing. So let's leave. Create analysis far on sample rate, so see the quality is 44,100. Let's go down. Let's choose a file type so we can't encode PCM so we can choose one of these UN compressed types, which is wealth A i f f or flak. Let's choose our wife bit deaf. Let's have it on 16. This is sued equality. Then we have Dever. You're going to master this later on the I choose No Dever, but we also have a few of her devore options. So, rectangular, this has a lower noise level that has kind of a quantum ization feel to it. Then we have triangular. So this is the best for any processing that you're going to do after the bouncing, then we have power one. So this is most useful for solo performances, guitar, acoustic guitar and vocals. Power to this could be used for for slightly bigger projects like Jazz Quartet and then Power Free. This is for most things, so home recording small destruct recordings for mixed downs. So I'm going to select power free. We can't have MP free if you wish. This will be a compressed or do you fall as it's an MP free, we cannot blow to Soundcloud. So if we select this after we exports, we have some options to upload to soundcloud on them. Video. If you are creating a video and then we do is hit exports. Andi, just put it wherever you want. That's it. That's how we can export in ableto Lifetime