Transcripts
1. Introduction: Hi, I'm Nathan Scott and I studied audio production
at Norco College. I'm a certified Pro
Tools operator. However, I found
that Ableton Live is more my vibe in
terms of workflow. And then I'm able to
write music a lot faster. So for that reason, I've
been using able to him exclusively for six years. The structure of this class
is going to be top to bottom. So I'm going to show
you everything from the preferences all the
way to your session view. And you should have
a good understanding of everything that's
available within the program. To follow along with this class, you will need a computer that has able to live 11 installed. This class will not be
super beginner friendly. I will not be covering basic music concepts
or music theory. However, I will
provide a glossary of some terms for beginners. After this course, you should have a great understanding of everything that's
available within Ableton Live and how to
navigate Ableton Live, including all of the
nuances in this class, I'll be dividing the
videos into two portions, the main lesson and
then a assignment. So if you follow along with
this class by the end, you should have a loop that
you can export and share. With that being said, let's get started and I'll
see you in the first lesson.
2. Preferences: Hello. So what we're
looking at right now is the default live session. Just know that you are able to create custom default sessions. That's a very useful thing
to do down the line. So the first thing I want to go into is actually going
to be our preferences. If you're opening able to
him for the first time, you're most likely looking
at something like this, which is very bright. If you want to change
that as you saw, we're going to go
here to theme in our preferences
under look and feel. And we're going to click
the theme, change too dark. That's my personal preference. And you can play around
with these settings. It's got a brightness
control here. It's got a color intensity
and grid line intensity. So all of these can be reset by double-clicking as you see
here, with that being said, now that we are dialed
in with how our look is, as far as our interfaces, I want to go into these
preferences from top to bottom. There are a lot of preferences, but I'm going to just touch on the ones that I use the most and the ones that I would
expect you to need to know. So right off the bat, we have looking feel here. So language and behavior, you could change the language
of your DAW and you have this follow behavior
that could be useful if you're like scrolling, playback or page flipping. Next, we have auto
assigned track colors. I think that will be
checked on by default, which just means whenever
you create a new track, e.g. if I create a new
track right now, then it will actually just
generate a random color. So that's useful and Clip
Color Alliance to track color. If that's enabled, then it
will record something in here. It'll match the color of this
as far as the clip goes. Lastly, we have our
display customisation, which we already looked at. So let's move on to
the Audio tab here. Here you'll find all of your interfaces and
audio preferences. As you can see here, I have
two different audio devices, one for the input and
one for the output. That's because I actually have
two interfaces connected. So it should, as long as
it's plugged into USB, it should show up here. So my scarlet to i2 has my microphone and the volt two is connected
to a synthesiser. So my headphones are also
connected to my volt two. So for that reason, I have my output
devices bolt to and I can adjust the volume in my headphones directly
on the interface. However, if you don't
have an interface, you may need to use e.g. the mac studio speakers
or something that is called built-in
on some laptops. And that will allow you
to plug in headphones directly into your computer, as opposed to having
an interface. So that's important
for output if you ever need to troubleshoot
why there's no sound, that's where you would go. And then as far as
inputs go, like I said, I have two separate inputs, 11 interface as Mike
and one has a synth. So if I wanted to record
those certain instruments, like my mic or my son, I wouldn't have to
switch between the two. So if I want to record my mic, I would use scarlet to i2. And if I want to
record my synth, I would have to switch
to the Volt too. So that being said, if you have a very
large interface or something with many inputs, outputs, you can also click into these configurations and
you'll see what's available. And by clicking these on or off, it will determine if
they are selectable within your tracks as
recordable inputs. So we don't need to
go too far into that. Next week. You have
some sample rates, buffer sizes, and test tone. For the most part, 44.1 khz, that would be this here, and that is just
your sample rate. So the higher the sample rate, the higher fidelity, but
larger the file size is. One thing you may see here. You have a latency
buffer size here, if you lower the buffer size, you can reduce some latency. General advice is lower. Sample rates are
great for recording and higher sample rates
are great for mixing. So if you notice you're
getting a lot of glitches and stuff while
you're mixing something down, you might want to increase
your sample rate. And if you're noticing
that you get some latency between input monitoring when you're trying to
listen to yourself via headphones or an artist's
singing via headphones. And they're saying
there's some delay or a lag might want to
lower the buffer size. I typically go down to
maybe about one-twenty. Anything lower is
kinda pushing it. So test tone, I've
honestly never used. So we can move on Here. Link, tempo and Midea. Anytime you have a
connected midi device in this instance, I don't, you'll most likely see
that it populates here and here you can configure
the input and outputs. And if you ever have
some kind of issue with Midea not working properly, this is a great
place to start in trying to troubleshoot here. So you can even enable
certain things like MAPE and sinking and
other advanced things. But for the most part it's
pretty much plug in place, so you may not have to
check this window out. Your file folder. Here we have things like
creating analysis files. You have some cash preferences, so you can set where your
caches are stored here. But to be honest, the only thing maybe
I have had to check off here is creating
analysis files. When you drag and drop
something into Ableton, it'll create an analysis file which creates these
pseudo warp markers, which you can then activate
and use to quantize. But for the sake of this, you really won't be
changing anything here. Next up we have our library, and this window is good
for when you're barely starting out and say you have just purchased
Ableton Live sweet, or you've had it and you just haven't downloaded the packs or you have already downloaded the packs and you need
to move the packs. You can do that. So you
can see here I have the location of my user library is actually on my hard drive, and then the location of my folder for Packs for all my Ableton
Paxil show you here. Packs. Can see I've already
downloaded a bunch, but if I click down
here and we have 23 available packs
which I can install. So say I didn't have that much
space on my computer, e.g. there are some big
files in here, 13.2 gb on this one, I can actually
change the location to some sort of
external hard drive. So moving on to our
plugins, scanning plugins, you will be doing
that very often anytime you download
new plug-ins, if you're not seeing
them in your folders, you will have to
rescan the plugins. And if you're opening Ableton
for say the first time, you will need to
enable Audio Units. V2, V3, V0 is T2 and T3. By turning these on, that is telling able to and
where to search for plugins. So if you're using Windows, you may not need audio units because I know that's
more of a Mac thing, but just know any, anytime you want to set a custom folders that
you've downloaded some plug-ins into a
external hard drive, you can set that custom folder
here that you can browse. So basically you would
set up custom folder and then enabled via C2
plug-in custom folder. And the same for
the BSC three here, plugin window options. So e.g. if I open up a plugin, it's automatically going
to open the plugin window. So that's on auto hiding, I believe once I start
recording, it'll hide. And then multiple
plug-in windows allows you to have multiple
plug-ins open at once. It's all of those are
great as defaults. I've never had to
change them. Next, we have record warp and launch. This just tells you everything
you you're currently recording at all the specs regarding what types of
files you'll be recording. Two really important
to Preferences here are the exclusive
arm and solo. If you take a look over here, when I solo, everything
is exclusive. So if I sell low here
and then syllable here, they will be exclusive events and they won't add up
if I turn off e.g. exclusive solo. Now, when I click here, it'll be adding more solos
to my selections here. I can click Command and
click my solo here. And then that'll unselect
all those solos. If I was working in that way, which sometimes I do
the same for the arm. If you see record arm here, these are my record button, so they are exclusive
to each other. If I turn that off, I can
enable multiple at once. Command clicking,
we'll de-select your selected arms or solos. So you don't necessarily
have to changing these preferences because
you can click command. So it says exclusive, but if I hold command as well, I can add onto my selection. And same for my record, if I hold command, I can add more to my selection. Okay, warping fades, you
have default warp mode. I've never really changed auto warping long samples
if you're dealing with mashups and things like
that and dragging and song, say for reference tracks
sometimes auto warp and long samples you may
want to have checked off. I tend to work this way. If I'm dragging and long files, normally it's a song or
something that I don't necessarily want able to
just work right away. And then your launch mode, this is gonna be
for Session View, which I don't
personally use a ton. But these settings have
always worked fine for me. So tap tempo, start playback with tap tempo
that allows you to click here and it'll calculate how fast your bpm is based on a finger tap of a
mouse or trackpad. So that being said, if you want playback to start with tap tempo,
you can turn that on. And after I click it four
times, it'll start playing. Started playing there. So I will work with that often draw mode
with pitches lock. I wouldn't say I
use too heavily, but I'm assuming
it just allows you to draw with this
pencil tool here, a locking two pitches. So license maintenance, this
is just if you ever need to authorize your
Ableton online. That's where you would do so. But normally when you
download able to and it will prompt you to handle
this right away. And that's pretty much
everything for preferences. So now that we have
our look and feel right and our audio
preferences dial, then we can jump into the rest. Now that we've gone over
the preferences menu, your first assignment will
be to adjust the look and feel of your Ableton
user interface. So in order to bring
up preferences, we can use the command, command comma and
under look and feel. You're gonna mess
with these sliders. And if you would like, you can post a screenshot
of your look and feel by clicking the Create Project
button below the course.
3. Menus: Okay, next up we're
going to be looking at our menus in Ableton Live. So the first thing you wanna do to follow along
with this lesson, Let's go ahead and go to View, and then toggle on Info view. This will pop up a little
dialog box at the bottom left here that gives
you a little bit of info about what
you're looking at. So that being said, I would just advise
you to go through these and learn all
of the shortcuts. At this point, I rarely
ever use the top menus. The only reason I would do
so would be maybe to export, but even that has a key command. There are a few key
commands that I have not developed his habits, but for the most part, I know a lot of
these key commands. So that being said, let's just dive in here live. That's where you'll find your preferences
and as you can see, there is a command for that. Next, we have our file, which you can see we can
create new Live sets, all the usual file things. And you could manage
files, save sets. If you want to save a copy
of a set for a version, you can do that with saved
lives set as once again, there are shortcuts
for that which are shown here, saving a copy. You can see on the Info
view there what that does. Collecting all and
saving will package all the contents of
your session into one place so you can
share it with others. Saving lives set as template is a very useful
feature in live 11. You can create templates, which gives you a
great starting point for any projects in different genres or just general templates,
whatever you may need. And all of these
templates are gonna be conveniently placed
in the browser, which you can then drag and drop certain elements out of
into your current session. So there's a lot of
ways you can use that. Like I said at the
beginning of this course, you can create your
own Live Set Default. So my default would
include things like a side chain bus or in
audio channels are in, since preloaded,
maybe some sense, but really you can customize
it however you'd like. I'm not gonna go into exporting
audio video just yet. I'll save that for
the end editing. Here you have a lot
of editing tools, but most of this you will never actually go to the
Edit menu to do. You will just use shortcuts. At least. That's how I like to work. As you can see, it's the
standard cut copy paste commands and then the duplicate Command D is very conveniently named. A lot of them are
conveniently named to be the first letter of
whatever function they do. So you can see how
you can delete with delete deactivating
tracks is zero, selecting all is command
a selecting loop. Shift Command L, Command L
activates loop grouping, tracks, things like that. Cutting time, pasting time, all kinds of things for pushing sections around in
the session view, renaming command,
our soloing tracks, arming trucks, freezing tracks. Another thing about these menus is that a lot of
these things can be accessed by right-clicking certain
areas of the interface. Command E and Command J are
very important commands. Command E will split a clip
command J will consolidate, arrange command
you allows you to quantize shift Command U
gives you quantize settings. One thing that you will
actually have to come in here for if you want to have
input quantisation, upon recording, your notes will be automatically quantized. You can set those values here
under record quantisation. Once again, simplify
envelope is something you could do by
right-clicking an envelope. Next we have our Create tab. All of this is how
you create tracks, midi tracks, return
tracks, take lanes, inserting scenes and
your arrangement view, and then inserting mini clips, capturing midi, creating fades. A lot of these
things can be done by clicking in the timeline. Next we have our view. This just shows you
all the commands for toggling different
aspects of your view. Not gonna get into
that too much, but you can easily
just go in here and see or read everything. Each one of these
your options here, there is a very important
check mark here to implement and that would be reduced latency
when monitoring. This helps in reducing
latency if you're working with a computer that has low RAM or anything like that, reduce latency when
monitoring will just help you reduce latency when you're monitoring. Very
important there. And other options. As you can see, a lot of
this is all just commands, which makes it really easy. Lastly, you have help here which you can check
out the manual, search up certain things, checkout forms, and
check for updates. So that's everything
in the menu bar. I would implore you to learn
all of these key commands. And even if you don't
necessarily take the time to do so now you have a general gist of
where everything is. You've toggled Info view. So now you can see
what everything does and we can continue. And I will still try
to provide you with key commands as they come up. So your assignment or this menu section
will be to drop down these menus and
familiarize yourself with some of these shortcuts
for the assignment, what we'll be doing
is just creating some audio and midi tracks, which will be the
basic building blocks of any music that you
create within Ableton. So to do that, first, we're going to
delete these here. And we can do so by clicking one here and holding Shift and clicking the range
that we want to select and just go
ahead and click delete. The reason I left one up
here is because Ableton doesn't allow you to
delete all tracks. There will always
be one track here. With that being said,
let's go ahead and use our commands
that we saw under the Create tab to insert an audio track as
well as a midi track. So Command Shift T gives me midi and Command
T gives me audio. And that'll be it
for this assignment.
4. Transport Controls: Alright, so up next
we're going to take a look at our
transport controls, which is going to be
everything at the top here. So first off, we're
gonna go left to right. First on the list
is gonna be linked. Link allows you to sync multiple devices so that
when you press play on one, you also are pressing
play on the other. There's a lot about this. It's really hard to
go into detail about, but it has its limitations. I would just suggest
you research it. Tap allows you to tap a
tempo and then able to, and we'll calculate
that tempo for you. So if you click this four times, you can see I clicked it at a rate of 215
beats per minute. I go slower. I get this up. Next, we have our tempo slider, which you can click and
drag upward or downward, upward increasing the tempo, downward, decreasing the tempo. You can also
double-click and type of tempo and then hit Enter. You're good to go. Another thing if you want to get very fine increments
of tempo sliding, you can hold Shift
while you drag, and that gives you a
decimal points up next, these two buttons here I've
actually never really used, but these will temporarily
either increase or decrease the song tempo to
synchronize to external music. Up next we have our
time signature. By default will be four
for where you can change by typing or clicking and
dragging each individual value. Once we move on to our main timeline
here I'll show you guys how you can add
time signature changes. Next button here that's
very important to know is this is your
metronome button. Right next to it is
a little arrow that allows you to drop
down and gives you options for count
in 1 bar would give you four clicks and then
recording what begin. You can change the
sound of your metronome and you could change the
rhythm. For the most part. I've never changed the rhythm. I never changed the sound. All I do is enable counting
or disabled counting. In upcoming videos,
I'll show you how you can adjust the
volume of your metronome. But for now we're
going to proceed. Okay, and then this button here, I also do not use very often, but it says this is
the quantization menu. So you can choose this to choose the global
launch quantization. It's used to avoid rhythmical
error when playing clips. It is also used
to determine when playback will begin
when using link. This feature is used
to quantize clips within your session view and
keep everything in sync. And it would adjust
the length at which your clips
would play back. Follow this button will make it so that your screen
will follow your playhead. If I hit Play. You can see that my view did not
scroll along with my playhead. However, if I enable
this and do the same, you can see my view
follows my play head. Right next to that you have
a bar and beat counter. Next to that you have
your play button. You have your stop button. Very important tip here. When you are zoomed in, in a session and you want to
go back to the very start, you can actually double-click. You're stopped by in, your cursor will jump
back to the start. Right next to that you
have your record button, which as you saw there, automatically began
trying to record. And that is something
that is in preferences. You can make it so that
when you hit record, you have to then press play. Or you could just
make it so that it'll automatically
start recording. And like I said, the
counting is determined here. So if I don't want
to count and I could just hit record and
we will be recording. But as you can see,
nothing is recording because nothing is
record enabled, but we will get into
that more soon. This plus icon allows
you to overlap midi. So say I record one midi
pattern and it's for trumps. And then I want to go in and add a hi-hat on a second pass. I can do that if I
enable the plus. Otherwise middy will
just record over itself. So quick demonstration of that. Maybe wise, you can see if you can see it's recording
over when I press keys, but if I hit the plus button, now when I add keys,
it adds to it. As you see, I was just using my keyboard to type
those notes in and we will get to how that
is enabled very shortly, this button allows you to
enable automation recording. So without it, you will not
be able to record automation. You can also actually
record automation by clicking and dragging
parameters while recording. Next to that, this button here will sometimes
highlight orange. And basically,
when that happens, it means that you need to
re-enable your automation. Sometimes they'll
get overwritten and you just need to click that button to re-enable
your automation. This button right here is a lifesaver and that
is captured midi. So if I was to be playing something on a
keyword, in this case, I have my computer as a keyboard if I'm pressing
some stuff, these are cores. I'm not recording, but
if I hit this button, you can see it captures any
midi that I was playing. However, did not record. This. Next button is a
session record button. And it is one that I
don't use very often. It's used to record audio
from your Session View. So next, these
numbers here allow you to input a loop duration. So next we're going
to take a look at looping just for your
reference command, L activates or
deactivates a loop. I can select a range, hit Command L and my
brackets will jump there. That is the best method that I have found
for making loops. This is the loop icon here, and these two icons next to
it just prevents you from recording information
either before or after the loop point. Over here. On the right, we have our pencil tool, which is activated with b. And then we have our
computer keyboard, which is toggled with M. The computer keyboard is how
I was able to type notes. And B allows you to use a
pencil within the piano roll. So a quick shortcut
here would be Command Shift M to
create a midi clip. And you can see it's empty. And this pops up and I can
edit the piano roll here. So if I take my pencil tool, normally the cursor
would change. There you go. You can see I can time to
just pencil things in. A quick tip command 123.4 are all used to
adjust grid sizes. So if I make this bigger
with command two, command one makes
the grid smaller. Command to make the grid bigger. Command three toggles, triplet view command for
turns to grid off. So we'll go back to command
for to enable our grid. And you can adjust the
size of your notes. Way when you input a
note with the pencil, it will be whatever
size the grid is has. You can see, you can make
quick roles with this. Or you can write chords
and quickly edit midi. That's B. Highlight all of
this and delete. And next we have this
key in here which allows you to customize
any key shortcuts, anything that is orange could
then be assigned a key. So if I were e.g. to say, I want this midi
track to be so load in H. You can see now, if I turn this off now, when I hit H, So I have to
turn off my keyboard here. When I hit H, it will solo that that midi Track command
K toggles this feature. And I can go in here and also
delete that key command. Okay, so then we have
our midi button, which allows you to
assign midi parameters. So if you have knobs on
your midi controller, you can hit Command M. It clicks something and then twist the knob and it will
assign it to that. So the CPU meter will tell you how much CPU you're
using and a session. So if I have a sample here, so as you can see when I start during processing
and stuff on, you'll see how much percentage
of your CPU you're using. As you can see, I'm hardly
using any just because this is a very processing
unintended session. So that will be everything
that you need to know in the top transport controls. Your next assignment
will be to use the transport controls
in order to set a tempo. So we learned two
ways to do this. We can slide the slider
or we can use tap tempo. You can choose your method. But for myself, I'm
going to just enable the metronome by clicking these two dots and
pressing play here. And then sliding this, I find a BPM that
I'm content with. 0. For this, I'll
leave it at 01:20.
5. Browser: Next we're gonna be
looking at our browser. And the browser is going to be this left-hand side over here, where all of your files will be, all of your folders, all your music making tools, pretty much everything is here. A quick note, this triangle
will collapse the browser, and these triangles
are located throughout Ableton and they just
collapse sections. Keep a lookout for those. And that is also what these
key commands that we saw in view we're referring to basically just quick
access to these triangles. I myself just click
the triangles. So what you might be
seeing right now would be just a red dot that
says favorites. Ableton Live 11. There are these things called collections where
you can compile a list of tools and things that you use
on a regular basis, but you can really customize
them however you'd like. In the past, I loaded a bunch of samples into one
called this drum thing, and I don't know, it just
got kinda cluttered. So what I'm going to try to
do now is just keep it to tools and things
that I can reach for quickly as
opposed to samples. So that being said, let's take a look at how
to create categories. So anything within
live I can click and create as a tangible item. So say I wanted to add this
to my instrument folder. I can right-click
it and add it to instruments and add to my
instruments not only that, but I could add it to
multiple groups, e.g. bases. And now that will
be under basis, but it will also be
under instruments. Works very similar
to tags and finder, very useful tool and you can customize this
however you'd like. Up next we have our categories, which is basically able
tins kind of core library. That's all the stuff that comes pre-built in with Ableton, with the exception of plugins, this is where all your
third party things will be. So under sounds, you have all your sounds that
came with Ableton. They're all categorized. If you're looking at these,
they're all collapsible. And you can see that we
have a DVs and AD Gs. These are all instruments
that I can preview. The difference between
a ADV and ADG. Adv is a device and ADG
is a group of devices. So depending on what you choose, that's going to affect how
much processing you're using and how much processing
the sound requires. Later on, I'll show you how
to create groups within Ableton and save your own
presets of this kind. As you can see next,
we have drums, which are all our drum kits. And there's a ton of them. And I can click them and get a sample of what
they sound like. So moving on, we
have instruments which is all ableton
its instruments. And then we have audio effects, which is going to
be all of our EQ or saturate, our compressors, limiters, utilities, reverbs,
basically any processing unit that you would throw onto a track is going to be here. Midi effects. You have great many effects that change the behavior of
your midi keyboard. E.g. in arpeggiator allows
you to arpeggiate chords. You have your chord builder and a bunch of other stuff
that you can play with. Really though the
arpeggiator is a great tool and that is one of the main ones you will
probably be using. And the rest are just
experimentation. Max for Live is something
that ableton has implemented where developers can basically build their own tools. And this here is a collection of the stuff that
came with Ableton. If it looks like this
little plug-in type icon, that means it's a
Max for Live device. As you can see, we have
more media effects in here. These are all going
to be your Max for Live things plugins. This is where your BSTs
and everything that we set in our preferences
we'll scan and appear. So you can see
here I have all of my VSTS and so on and so forth. This is why it's
really important to create tags because it can be kinda daunting to have to go and look for
things like this. But don't fear because there's always a
search tab up here. So anything you want to find, you can always just search up. So if I'm looking
for, say, a limiter, my plugins, I have
these limiters. One thing to note
about the search, if I'm searching something, it's going to search
the selected folder. So you can see I have no
limiters and my samples, but I do and my plugins. However, if I click all results, I'll get all results within all of my
folders in my browser. Up next we have clips. These are. Clips that are kind of a
combination of audio and midi. The only time you'll see
this icon, if you see, if I drag this in, it's going to load the
midi as well as the kit. So that's how that works. Up. Next we have samples, which is just audio samples. Strictly the stuff
that came with a Wilton in this scenario. But in the future, I will be having an
external hard drive. And I also recommend you get an external hard drive to
put all your samples onto, and I'll show you how to load
those samples into Ableton. Up next we have grooves. And if you notice here we have this groove kind of window here. And basically these are
quantisation profiles. So for demonstration purposes, let's take a look at this
clip that I have here. If I press Play, it has
a very specific group. Now if I were to take
one of these profiles, I'm just going to
type in a swing here, so it's a little more apparent. I can do swing 16th. See something kind
of intense of this. So you can just click
and drag groups. You can also drag grooves
in your groove pool here. And so right now you
can see that we have the first group that I put here and it is affecting our timing. 100%, 0% grew, swing, completely swings it. And you can mix this. As you could see, I could also, if I were to drag this
onto the kick pattern, it would replace the other but doesn't do as much just
because it's thirty-seconds. But yeah, that's the
gist of a, of a group. And if you double-click
a midi clip, you can also see in
here at the bottom that it says that we are
adding a group to this clip. So that was a quick
look at groups. Moving onto templates.
As you can see, I'm still searching some things. I don't have anything here. So anything that I save as a live template through this menu here is going to
go in the Templates tab. Ableton Live 11 comes
with these default ones. And if I were to
double-click one, it would just open it. So e.g. if I do this, don't save this as a template. It's got a tracks
ready to record. And let's say I want to pull in some midi from some other
template like this. I don't know what it
is, but I can do so. Podcast template,
mastering, sweet, but I can just drag in anything
from any other templates. Templates are super useful and you can create
whatever kinds of templates that you want
for whatever purposes. Underneath that is going to
be everything user related. The exception of
packs right here, you can customize any folders
that you want to appear. So e.g. if I had a
sample folder somewhere, say like my downloads
or something, I could click Add
Folder and I can select perhaps my
downloads folder. It's going to take a minute. So for some reason my
Ableton is crashing. It could be because I'm
using OBS at the moment. But typically all you would
do is just hit Add Folder. And then you can select a
folder that you want to include for Ableton to scan. And you can access
all your samples through an external hard
drive or anything connected. So in this case I'll
just hit Cancel, but that's how you
would add things there. You could also add, say, other project
folders and dragging certain files from
other sessions. Last thing here on
the browser window, there is a little
headphone icon here, which lets you turn on or
turn off auditioning clips. So if I want to mute
things are not here, then I could do that. That's pretty much the
gist of the browser. So we're gonna go
ahead and move on onto our timeline and some
controls that we have there. Okay, so now that we took
a look at the browser, your next assignment
will be to drag in your first samples
and instruments onto the tracks that you've
created. In the last lesson. Go ahead and click around
in the browser to see what types of instruments and samples you have
available to you. And alternatively, you
can also search up here. So in our case, we will start with a drum loop. I'm going to search
up drum loop. And you can see under this samples folder I only have one, but I'm going to switch to all results to get more options. Now that I have more options, I can click and listen and see if there's anything
that calls my attention. The sake of this loop, I'm just gonna go
with the first loop here and drag it in. And for my instrument, I'm going to hop over
to the instruments tab and just select an instrument
that sounds cool to me. Let's see what we have. It's pretty rad, so I'll
just drag that one in. And to add this
base to this track, I just clicked and dragged it. And now it is here. So that's it for
this assignment. Just go ahead and add
an instrument and a drum loop that we're going
to base our loop off of.
6. Editing Clips: This is gonna be a quick video on how to edit clips within
your arrangement view. You're going to need to know
this for the next lesson. And Ableton, there are
different parts of the clip. And each part of the clip triggers different tools
when you hover over them, that if you see here,
if I drop this down, I just have the name. And then underneath that
we have the clip content. So if you hover over the clip name that accesses
the graph tool and you can move things around with the grabber tool and it's going to be
snapping to the grid. But if you hold Command, you can slide without snapping. Also, you can hold Alt, click and drag a clip, and that'll make a copy of it. You hover over the right of the name and you extend forward. It'll begin looping that clip. And if you move backwards in time and you
can shorten lips, thing goes for the other side. If you drag it out
where it it'll loop. And if you drag it forward, it'll shorten the clip. If you hover over
the clip content, you will access the
selection tool. And this allows you
to select ranges of your clip and you can
then break those clips, duplicate those portions
of the clip with Alt. You could delete those
sections and much more. And then if you
here on the right, there's these handles that allow you to create fades
on your clip. And there's also some things that happen when you're
an automation mode. A few select a range just in the bottom where
the clip content is, that's only going to
duplicate your automation. However, if you select the clip content
and the clip name, there'll be duplicating
the content as well as the automation. That's a little hard to
see. Let me do that again. But smaller. You can see we're copying
the automation and the clip content will go
back into the normal view here by pressing a about other things you could
do with the clip is I'm reversed the clip by pressing R and you want to make sure that you're in work mode for this. So this Warp button
is checked off. These shortcuts
won't work though. We'll turn that on. Yes. So from here, if you
hover over the right trim area and you hold Shift, you can actually stretch the audio or you
can compress it. You'll hear how
that sounds here. But if I stretch it
and if I compress it, That's how that would function. Another thing you
could do is arrange here using Command E. And
if you hold Alt and Shift, you can drag the
content of the clip. And if you hold Command as well, you can make it so that it
doesn't snap to the grid. That's super handy. Another thing you could
do is use the command, command option F
when you highlight over the end or the
start of the clip. And that'll create
a fade for you. And if you had multiple clips, I have a line like this. You could select ranges
of multiple clips, do Command Option F and
it'll fade them all for you. If you highlight the whole clip and you hit Command Option F, it'll create fades
at the beginning and end of each clip section.
7. Arrangement View Timeline: Alright, so now we're gonna
take a look at the timeline. I'm going to show you guys
everything from about here, excluding these tracks. I'll get into that in
a separate section. So at the very top, we have what's
called the overview. You can click within here and it becomes a zoom tool by
dragging up or down. If I'm zoomed in really close, then I can also click around and it'll jump
to that section. I have the option to
expand this or contract this by hovering in-between
the sections here. Next, there's these
two buttons here, which allow you to optimize
for the track height, which will use up
your screen space to make the track height taller. Or you can optimize by width, which will put in this scenario my whole song and
perspective like so. And then right beneath
that we have this section, which is just a dark
gray kind of timeline. So within this timeline, you can also click to zoom here. So you have two main
spots to do so. And then right here in
this light gray area, right beneath the dark, that is how you click around to start playback at
a certain point. So anytime you want to
play at a certain point, you can just click there. And you can see sometimes
if I'm playing, it'll give me a little bit
quantize kind of playback. So another thing I
could do in terms of playing back the music where
I want it to play back. I can select the clip
and just pause with Space bar and press Spacebar again to initiate
from that point. Also in this light gray area, you can add locators. So say every 16 bar, I want to have some
kind of locator. I can create them by right-clicking
and adding locators. And I can hit Command R
or right-click Rename. I could say this is
gonna be my verse, then this is going
to be my chorus. Or I can make a note here, and so on and so forth. So you can do that
however you'd like, just know it is an option. And to add a time
signature change, say I want to change here, I can actually just delete this. Say I want to add a
time signature change. I could right-click, Insert
Time signature change. Let's say we'll go to 68 here. Now, if we play our metronome, we'll see what we have. 341-231-2341, 2345,
6123, 4561, 2456. So you can kinda
see how that works. And we can also delete all
time signature changes. Okay, so the blue triangle is going to correspond
to places like click on the actual session
area where all my clips are. And this will also indicate where I'll start recording from. So if I hit record and
maybe I take off counting, it should start
right, right there. So if I had a clip here, I want to record
here, I can do so. I can click over here. I want to record here now. Say I want to do
this range record. So yeah, I think that
navigating is very easy in Ableton and makes
punching in very quick. I can just press play. And then as soon as
I'm ready to record, someone in and pause the
recording we have right here, these numbers correspond
to our musical time, meaning measures, bars, beats. And then at the bottom
we have seconds. So if you want to know how
long this song would be, I can click and drag. And we have a marker here. So this song would be
about 2 min and 52 s. Another thing to note when
you are selecting a range here that determines
the export range. So when I go to Export,
it'll say 1-86. So it automatically
imports that data, which is awesome,
but we'll get into more on exporting
selecting loops. You can select clips
and hit Command L. And now you'll
loop that section. You can click and drag these brackets
around, shorten them. And of course there's the
command one and command to, which is very helpful if you are copying
and pasting stuff. Now let's develop more of
a structured thing here. Oh yeah, so you can also
change colors of clips by right-clicking clips and
giving them a new color. Select right-click. Also, if you want
to rename clips, you can click them, hit command R and
type a new name. Same for audio. So I'm going to quickly
show you guys some kind of section manipulation
for your sequence. So if I have this kind of
thing going on and say, I only think, Oh boy, Now I want like a intro. I can select an area and hit, sorry, I can select an
area and hit Command I. And it will create
silence there. And depending on how long
I make that selection, that's how much time
I'll be inserting. So I can undo with command Z. Another thing I could do
is command copy something. And then Command Shift
V will insert space. For that clip. I could select ranges. So say I want this whole
section to happen here. I can do that and say that I and done arranging my stuff and I want to recolor
everything back to how it was in, select
everything Right-click. And so I just click, shift, click to the top, right-click and assign
track colored eclipse. And that's a quick way
to get all your clips colored according
to their tracks. So let me also do the ease
and do the same process. So that's a great way
to remain organized. You can always move around your locators by clicking
and dragging them. So putting audio
onto your timeline. You see here it says I can just drop files
and devices here. So anything from my browser
that I want to just, I guess the word
would be instantiate, but that's a little nerdy. Anything that I want
to throw on my tracks, I could just drop
down these menus, click and drag something, and there you have
some audio or say I want to do a plug-in
or something, I could do that as well. Plugins that created me a new audio track with
this plugin on it. So say I wanted to insert a silence here. I
can do Command. I can also duplicate things. And Command Shift D, e.g. will duplicate and nudge everything in the rest
of the song over. These are really useful tips
for arranging your music. So one other thing, these arrows here allow you
to jump to your markers. You can even hit the
Del button and it will delete set markers. So that's a really quick
way to jump around from your markers within
your timeline. When you want to automate stuff, you can hit a and it
will show automation. The reason it's not
working right now. You have to toggle your
computer keyboard with m. As long as your computer
keyboard is enabled, then your buttons
will function as a keyboard and not
as key commands. So this instance,
I'm going to hit a, and now you can see we have an automation view and I can hit a again and
toggle between the two. So if I want to automate
something, e.g. I. Have this convex here, which is a crazy thing
with all kinds of macros. I can go to the drop-down here, and it'll say convex. And on the rest of here I
can click on a parameter. And you'll see that my
automation curve changes. Which means that
whatever I click, my automation is going
to correspond to that. No. I could also go to
show automated parameters only or I could configure
the parameters as well. So I could go in here and
configure parameters, but that's a little advanced. We'll get into that a
little later when we are focusing on this
specific section. For now, just know that you can toggle between automation modes, dislike that, and click and drag points by double-clicking. It, select a range,
right-click, Insert Shapes. You could create curves by
holding Alt and clicking, dragging up or down to
create interesting shapes, just curving shapes basically. And you could also use this button here to
lock your automation. So say I have this going on and then I put this audio
into this thing. And I wanted to
duplicate the audio without duplicating the curves. As long as the lock is enabled, I won't copy the automation, but say I do want this to
have all the automation. I could take off the lock, hit Command D to duplicate, and it copies all
the automation over. That's how you can quickly
edit automation curves and create automation
and Ableton. And I think that concludes everything
in the timeline that I feel like you should
know that we can move on. Now that you've learned a bit
about arranging your track, we're gonna go ahead and start
structuring the loop here, we're gonna make
an eight bar loop. As you can see, we have 129. So that would be the end of
bar eight, ending it's 8 bar. So we learned Command D to duplicate so we can
extend this drum loop and we also learn how to create midi clips within the timeline. So Command Shift M will
create a midi clip. And here we can either draw a melody out or we can use the computer keyboard
to create a melody. So this sound is
actually a longer sound, so it needs longer notes. So that will be
my melody so far. And I'm just going to use the M feature that we learned in transport to pull up
my piano keyboard. Then pressing X or Z
will change the octave. So if I press XL be
higher on the notes, and if I press Z
will be going lower. So I'm also going to enable this plus icon here and add
some notes to this loop. You can see those
notes that I recorded are these ones that
are just slightly off. So we can fix that
by using a command or going up here to
Edit and quantize. And you can see
here the commands command U and shift Command U. So quantisation just aligns
these notes to the grid. And we'll press Command a that
selects all of our notes. And we'll use Command U. And then I'll quantize
if you, instead, if this doesn't go
right and you want to adjust the
quantisation settings. You can do Command Shift U, and you'll see different
divisions of time. And you can apply that. Alright, so that's it
for this assignment.
8. Arrangement View Tracks: Alright, so up next we're
going to take a look at all of your tracks, and I'm going to
break down how to change the displays on
these tracks and what everything is in terms of audio routing and functionality. So if you're looking at your tracks and they
don't look how they look. On my screen. There's these four buttons
with letters on them. There's Io, M, and D, and all of those buttons just change the display
of your tracks. So if I take off i 0, you'll see we got rid of
our inputs and outputs. If I get rid of R, you get rid of your returns. And if I hit M, we get rid of our
mixer controls. And if I hit D, Then I can see delay
in milliseconds. So this allows you to add
a delay to your tracks. So say you want something
to rush or drag, you can add millisecond delays. You want to enable your
IOs or returns our mixer. And in this case, we can leave the delay
compensation off. At any point you could
right-click and insert audio or midi tracks or
return tracks or group them. So a quick rundown. There's midi tracks and
there is audio tracks. Your midi tracks
will be what you use to use any
virtual instruments. And audio tracks handle any audio recordings
that you're gonna do. First off, we're starting at the top left here
you have this little drop-down triangles
which allow you to collapse tracks
or expand them. You could also hold Alt and click and it will collapse
them all or expand them all. You could also click
and drag in-between tracks to individually
change their sizes. Could also Alt
click and drag and you'll also adjust the
size of all of them. Renaming tracks is command R.
So next to the track names, we have some options
and drop-downs here. For midi tracks, that's
going to be where you can select which midi keyboards
are triggering which tracks. So for instance, if I want only a computer
keyboard to trigger this midi track and say volt two is a midi keyboard as well. I can record both simultaneously by enabling both and
only my computer. Key strokes will
trigger this track, and only the bolt would
trigger this track. The drop-down beneath
that can be used to route complicated drum
racks and things like that. It's not a menu that I
use very frequently, but just know that it's there. Underneath that you
have input monitoring, an auto monitoring, and you
could turn Monitoring off. In terms of middy. You may not use this too much, but there might be
cases where you could just comes more in
handy for audio tracks. Let's say I had a mic, e.g. track one here I can
see some metering. So if I hit input, but I should be able to hear and see how much level
is coming through. And that way if you're
recording someone and they want to hear themselves
else, you can do that. Alright, so the auto monitoring but has a lot of
different functionality. E.g. if we see right
now it is monitoring, should be able to
hear myself here. But if I switch to
a different track, you can see it'll
stop monitoring here. So just now you need to
record enable there. And then when you record audio, you'll be able to hear yourself. But anytime that audio
is playing back, you won't be able to monitor. So if I reward syncing here, it would be a standard reporting
where I hear myself and performance I want if I stop
recording then at the back. So if I recall, it's monitor. When there's audio content, timeline here myself,
after the audio content, then it'll serve
monitoring again. If I stood next to that, you have an off button. And that just turns
off input monitoring. So you wouldn't be
able to hear yourself. Some people don't like to hear themselves
when they record. That's the button you
would click for that. Underneath that you have
your output routing. So in this case it's
for an audio track. I can make this
ascends only track. I could route this audio to another track to say I
wanted to record the audio from four to audio five here I could output the
audio for audio five. I could hit Record here, and it will record what's
on audio for audio five. So that's how that works. So many tracks also
have an output. However, they require
an audio track or an another track to have some
sort of media-based effect. So here I loaded on this audio file or a
instance of harmony engine. This is a harmonizer that
can take input midi. So if I switch here
to accord via midi, it'll generate different
voices based on midi. So if I had some chords here, then I can route
this midi to trigger the voices in audio file by going to the
output of the midi, clicking audio five,
you can see it drops down four voices here. Depending on what
Plugin you're using, you may need to route
some of these things. Alternatively, able to nasa
stock plugin called external instrument that allows
you to basically output midi just as you would there except for without having
to change anything there. Same thing though, you
need to have a plugin with a midi based functionality. So moving on, we have these orange buttons here that is to enable and disable tracks. So I can mute tracks
by clicking here or enabled tracks by
clicking them on. So as long as they're
yellow, they are active. And if they are grayed
out there inactive, this button can
also be automated. It's a great way to cut
off reverb tails and things like that by
muting the whole track. So any effects that
would come out through the master would be completely
muted by automating this. So if you have just clicked it, you can hit a and it
says speaker on here. And then I could
take a small range, click Arrange, holding, Shift, and then dragging down the automation will make
it behave like this. If you don't, when you
click and drag, it, just makes a point
as you can see, because I automated it, it added a little red dot here. That's how you know, if there is some automation going on
with the mute button here. So continuing on here, there's this little blue
box here that's used to change the volume
of your clips and you can click and drag
here to increase or decrease volume could also double-click here
and type stuff. So say I want this to
be negative 10 db. I can type negative
ten and then Enter. And also I could select multiple tracks and
say I want this one. This one's not showing a meter because there's no
instrument on it. But as soon as I add one, you can see we have
a volume meter. So say I grab all of
these and I want to subtract 10 db from all of them. I could double-click one of
these and do negative ten. And you'll see that
this one that I've already ducked down by
ten dB is going to be negative 20 and everything
else negative ten. So that's a quick way to
adjust volume of groups. So underneath the volume, you have these negative
infinity boxes here. Those correspond to your sense. So as you can see,
I have two sends, a reverb send and a delay send. The first box is going to
correspond to my reverb and the second box is going
to correspond to my delay. So basically ascend is a tract. It's always active normally it'll have some sort of effect. So as these name suggests, this one's reverb and
this one's delay. And what you're
doing by increasing these faders is basically just floating in the effect
from the reverb. So the audio will go from
this track into my reverb. And then I can adjust
how much of that volume and processing where we're
hearing with this fader. So let's take a look at an
example with the serum patch. So as you can hear, that's dry. And then if I float in the
reverb all the way to zero. Now we have rubber
and you can adjust that to be subtle or extreme, right next to that, this one
would correspond to send B, which is gonna be our delay. So if we click it, you can see we have
our delay here. And changing these values changes the rate at
which it's delaying. And you can link them here with this button just to feedback. So that's how those work. Next you have the
Solo button and record button
self-explanatory there. And right here, this
C is a painter. So C means that this
track is centered. And as we go left, we have left panning and then 50 to the right would be
all the way to your right. So you could also double-click
here and type values. If you do negatives, say I do negative
25, that'll be left. And if you do positives,
that'll be right. So that's a quick
way to pan things. And I believe you can do
multiple tracks at once. So I could take negative 25 and now it's subtracting
25 from both values. You could also
automate the panning, pretty much anything here you
could automate by clicking. However, it could get a little tricky when you start
automating things, and I wouldn't recommend automating volume
directly on here. Ableton has a stock
plugin called utility. If you apply automation
to your main fader, you can't adjust
the overall volume anymore without overriding
the automation. With utility, it allows you to add dynamics that
you want in terms of volume and then you still have the option to adjust the
overall volume of that track. So I could click gain here and I could automate
volume that way. As you can see,
I'm gonna go down 13 dB and then come
back up to zero. And I could still turn
the overall level down if I start doing automation
to the actual volume, you can see I get that red dot and when I start
turning up volume, I lose my automation. And this is when that little
orange button comes on and you just have
to right-click that to re-enable your automation. So at the bottom we
have our returns. And the only real
difference here is that you could change this
to pre or post fader. Another really
important features that you can group things. So say I want all
this to be a section. I can hit Command G
and that'll group it. And you could even create
groups within groups. So if I want to make this group. I can do that and say I want to make this group can do that. So let's say e.g. these were drums. I can make this group, snares, can make this hats. And I could even duplicate
within and do gigs. And then I can just go ahead and just click the group and
it'll collapse at all. So one thing to note, when you add
processing to group, you are processing everything
within those groups. And once again, you could also right-click these
to change the colors. So if I change these
individual groups, two different shades of color, we can right-click
those groups and assign the track color of the group to the tracks
within the group. And if e.g. I. Was to assign track color two clips
within the main group. I believe it'll change
everything to that color. And lastly, we have our master. Anything you apply
to the master track, we'll apply those effects
and processing to the entire song so long as
they're routed to the Master. If you were doing
tempo automation, that'll show up on your master. I could right-click,
Show Automation here or just switch to a. You can see we have
our song tempo here, and I could create markers
to change the tempo. So just know that's where
your master tempo is. And then here, this blue fader box allows
you to change the volume of the metronome as well as the auditioning of samples
within the browser. So if I turn this down, turn this headphone icon on. So that's at minus eight. This is at zero. So if I turn my
metronome on here, if I were to put
this to minus ten, a bit louder, and if I do zero. And then the volume
of the master controls the overall
level of everything. In your session as a whole. You may have noticed how I am putting plugins onto tracks. You can just click attract, find a plug-in that
you'd like to add to it and double-click it and
it'll add to that track. And if I keep adding things, it'll just keep
adding in the chain. You can also click and drag
plug-ins to certain tracks. Since this is a BST instrument, it would go on a midi track. You could click and
drag into audio tracks. If you want EQs on
certain tracks, you can do this way. That's pretty much everything, but I'm gonna give
you a couple of advanced tips with these tracks. Let's do it on this track here, you can right-click and
do show take lanes. You can see every take that
I recorded is saved here, but you'll see if I
record something, it adds it to another take without destroying
previous takes. And anything that
is highlighted will be the tape that I'm using. And this is a great time
to use the pencil tool. You could use the pencil tool to click and drag certain ranges. And as you can see,
It's copying it for me. You can take little
bits from here, a little bit from there. And that's just a really
quick way to comp things. Holding command allows
you to slip off the grid and select specific
non quantized ranges. That's one very important
feature of Ableton. And the second would be
your automation lanes. If I hit a here you can see these two dropdowns corresponds to what you're automating. So in this case it's the
utility and it's the gain. And you could click on different parameters
you want to automate, and you could even add lanes. So say I wanted to do some
mono switching or something. You can do that. And I could add more
lanes and you could add as many lines of
automation as you want. Okay, so now that we've taken a look at what we can
do with tracks here. Go ahead and just clean this up. So let's delete
this unused track. Let's rename this
with Command R, because this is actually
sounds more like a pad to me. So I'm going to call that a pad. I'm going to call
this a drum loop. And I have a certain color
code that I like to use, which is red for drums, this sort of magenta for pads. And then we're going
to select both of them by clicking and holding Shift and
selecting the other, right-clicking and assigning
the track color, eclipse. If you want, you could
experiment with some of this. The sense that you have here and listen to what those do and
create some automation. And if you remember
to add automation, we can press M to disable
our keyboard verse. And then at a, and we can see we have
some automation here. When I slide this,
I can create notes and some automation Alt. And just locate that. So that's just adding a
little reverb to the jumps. And that's it for the
assignment on tracks, just renaming your tracks, cleaning them up
and coloring them. And if you felt like it adding
some automation and you could even mess with
panning or any of these other features
that we covered.
9. Device View / Clip View: Alrighty, so up next, we're going to take a look
at our plugin section here. So the plugin area down here is where you're going
to see all your plugins, all your effects,
things like that. And you'll also be
able to see all of your audio clip view. So to toggle between the two, you can click here at this rectangle and you'll
get the device view. And next to that,
you'll get your. So it's also pop up
here, Info view. So to see what plugins
are on a track, you can just click
the track and you'll see what tracks have
plugins and which don't. If you want to add plugins
to a certain track, you can click it, type in the
plugin you're looking for, and double-click the
plug-in and it will automatically jump to the last selected track
that you clicked here. Alternatively, you
could click and drag plugins on the track. You could drag them
straight in here. So you have many
ways to go about it. So let's go ahead
and delete these. Now that we have a plugin here and we know how to
get them on our tracks. Let's take a look at some of these top navigation controls. So this one will just expand or contract information
depending on the plugin, that information will vary and I'll show you
some other examples. This one, it functions
similarly to the mute button. Basically it turns
the device on or off. And any parameter here, including the device on or off, as you can see in our automation
view, can be automated. So if you have a
certain part of a vocal that you want to
automate an effect on. You can do that, or you could even automate a mixed control. So by clicking a
certain parameter, you can see we get different automation lanes
and then we can go ahead and just start
automating it on our EQ here. Basically any plugin, you can hit Command R and rename it. If you have a certain EQ, say you like to use very often or something like that.
And that's gonna be here. Locally cube. You can save that and then
use it at a later time. So just know that
you can do that. And you could always
right-click and delete. All right, Up next, let's take a look at
some meaty stuff. As you can see, it says
Drop instrument here. That just means that
we haven't loaded an instrument for the
midi to play through. So to do that, we can click under Instruments
tab or our plugins tab, depending where instruments are, double-click an instrument
and it will populate here. Same thing. You
could also click and drag or drag onto your
track here in the timeline. Now, if I were to double-click
another instrument here, it would actually go ahead
and replace this one. So it works as an overwrite. If I want to have
multiple instruments playing through the same midi, you could also do that. So as you can see here,
we have collision. So as you can see,
my record button is not showing up quickly. That's because my input does
not exist, had no input. So now we have all our inputs. We can record enable this. And there you can see
we have our sound. If I wanted to have
multiple sounds playing through here,
I can hit Command G. Command G will create a group. So these groups can be used for audio effects as well
as audio instruments. E.g. if I had this group, and we wanted this
to be some sort of preset of compressors. Call it ultimate compression. You can name this group by
double-clicking the group, it will expand or collapse
it, basically any device. So I can also
collapse them here. And then I could go ahead and save and I'll get
something like that. So it's good. Delete that because we
don't actually want that. So what we're looking at
here is two separate groups. One of them is audio-based, which are compressors here, and one of them is midi based. So since we have an
instrument here, you can see we have
an instrument rack. And then here this was
an audio effect rack. If I drop a second
instrument here, let's go ahead and do that. Let's say we want analog and
we want some sort of pad. I can drag and drop it here. And I see we have two chains
and we have a volume fader, a pan fader, a device on or off, basically mute
function, and then a solo button right next to
that we have a swap mode, which basically just allows you to switch them instrument. Now if I press a note, here, we have our pad and this
extra instrument playing. And you can go
further than that and add as many instruments
as you want. That a sub bass here. And I could sell these. And here what they're doing. And I can go further
and start dequeuing these elements so that they all have their own
individual space. So some methods I
might use is EQ, cutting out the highs
and the sub bass, cutting out the highs
of the pad maybe, and then cutting out all the
lows of this high-end here. So one thing about
this basic subs sine, actually, which is a
great tool in Ableton. If I solo this, you can see I have a lot of macros distortion. So that's a great one. And I was going to EQ this, but under here in the instrument you can
see it's already EQ. If I wanted, I could
change this to something more aggressive
here like this. And then I could EQ all the other parts and create something that isn't muddy. Moving on here, if we take a look at all of these
options within our group. At the top here we
have macro controls. These controls can
be assigned to anything in our instruments. So say we want our octave
controls to go to macro one. I can do that. I can map the tune here. And now and say we
will do this pan to this knob now controls
both of those knobs. And you can assign
as many as you want, and you can assign multiple. So macro too, That's a pitch. Once I have multiple
parameters on here, it'll default to macro,
but as you can see here, I only have one, so it
named it appropriately. Of course, you can
always change this. So say this is octave. And you can do that
for all of these. You could even re-color
them, create custom colors. And that brings us to
our next topic here. If we're going down
the list of buttons, we have a plus icon which
gives us more macros, and we have a minus button, which takes away some macros. Another quick thing here we
have this random button, which will randomize our macro. Which is a really cool feature that we have are variations, which allows us to create
variations of macro sets. So if I hit new here, this is variation one. By hitting U again,
variation to. Let's change some things around. And then we create
a snapshot with this little camera icon. Now if I double-click
back to one, we have our first variation. Second variation,
create a new one, randomize it, save it. And now we have another. That's a really cool
way to go about that. And you could rename them, duplicate or delete
them by right-clicking. So now let's turn
off our macros, turn off our variations
and our device list. This one here. So we have our device list, and then we can show or hide our devices
with this button. Now let's take a quick look at some of our features
here in our audio chain. Here, I can right-click in
this area and create a chain. So say this is our first
chain of compression. And then say I wanted to have some reverb on this other chain. I could add some
reverb to the chain. I can make the dry wet 100%. That way we don't have any
overlapping dry signals. And I can affect this
reverb however I want, and they would both
play simultaneously. Now I should be able
to hear some reverb on my sound and un-solo this. As you can see, we
have our reverb. So let's dive in here, see if there's anything
else we should mention. But I feel like that pretty
much covers our groups. So we can collapse these
groups, save them. Then there's this
map button here, which allows you
to quickly select a knob and just click
app and keep going. You can add as many macros. Just click one of the
green boxes and map them. And you can uncheck map. And now all of this will
reflect your changes. Alright, so that is
our Device View. And let's talk
about our clip view now because that's
what will be next. Are clipped view is
where we'll be doing anything regarding our Eclipse. So if I want to warp this vocal performance
or quantize it, I can do that here. So if I play this standing in the array and
further down in my brain, I was doing silly
things just to make, alright, so I had
this weird rumble. Let's just get rid of that. So let's click back in our clip. So you can see here we have all these little lines on this. And when you're in warp mode, as you can see here we are. Those lines will appear and
without it, they won't. Warp, allows you to
create warp markers, which then allows you
to change sounds. So say I want this breadth
to hit right here instead. And then work this here, standing in the array.
Then I can do that. And depending on
which warp mode will affect the sound of the warping. So beets normally
has a choppy feel and it's used more on Trump's
and things like that. Standing in the red
feather down in my brain. And you can see I have
different options for how this beats will behave. So right now it's
trying to analyze transients and reproduce
those transients accordingly. If I change this
say to 16th notes, then it'll try to
analyze a 16th notes. So it got this weird
vibrato thing going on. And then this changes
the program mode. If I hit this one, it'll actually tried
to play and stop. And I'll get
something more choppy depending on this envelope here. Standing in the red
feather down in my brain. Which is a really cool little
effect there, standard. And you can change the rate. Up next we have tones standing in the array
and further down. So if I stretch that, the higher my grain
size, the more clear, the lower we get something
a little more choppy standing in the red
feather down in my book. So that's tones. And then we have textures standing in the
array and feathers. And you can play with
these parameters. It just like it says, has a lot more
texture. Metallic. Re pitch will just either lower or higher the pitch depending
on stretch or compression. So in this case, further down, you see as I stretch it got
lower and as I contract it, it will get higher
and further down. Yeah, That's pretty weird, but cool to know that
we have that option. And then we have complex, which is a more accurate
way of warping audio. Standing in the rain, further, standing in the red feather
down in my brain, I'll list. And then Complex Pro
goes even further. Standing in the red
feather down in my brain. Standing in the red
feather down in my brain, I was doing silly things just so as you can
see doing this, you can come in here and change our grid size and
just quantize audio. And performance is very easily. Now sometimes if you have to stretch these little too far, it'll be really obvious
that you've warped it. Standing in the red
feather down in my brain. So you do have to be
careful with this, but just know that it's there. And then next to that
we have our divide two or multiply two by
standing in the rain, fell it down in my brain I
was doing which just speeds or I'm speeds up or
slows down things. Standing in the red
by a factor of two. So you're either half timing
or double timing there. And then we have our gain knob, which adjusts the
volume of this clip. And then we have our semitones. So as you can see, this changes the pitch. Creepy. But you also have
fine tuning here, which is sent stone. And under that we
have our envelopes, which allows us to
create pitch automation. So if I was to go
like this standard, then you get something
really weird. And you can play around with
that standard normal room. So that's how you
would trans, transpose things with an envelope. And you can always hit Alt and curve these
standard normal. So that's great. And you have a bunch of different things you could actually automate here. So you can even do gain steady state, which
is really cool. And what else do we have here? So you can see here we have
this top loop bracket two. If I, if I were to create
a loop or something, here, you can see it then populates, this
is a little bit. So you can do things like that and change the
length of the loop. And I think that's pretty much everything here that
you need to know about. And maybe we can
take a quick look at our midi editor
since we're here. So our midi editor. We have our transport stuff
here in the clip view. We have a scale button here, which allows us to
choose a scale. So if I want to
write in D minor, you can see everything
stayed green. And that's because
there's a scale button. It highlights all the
notes within the scale. And by clicking scale, it reduces all of the notes
that are not in the scale. So you can quickly
write chords this way. That's really loud. I'm going to cut that out.
You could write chords that way and write melodies,
everything in key. Double-clicking on this
here, Editor, create notes. Likewise, you can hit B, which gives you
your pencil tool. Quickly write many
notes that way. You can hit the divide two
or halftime or double time. So that's what these do. You can reverse or
inverse things. So Command a will
select all your notes. I just wanted to display how
this reverse button words, an inverting and legato. Legato will try to
fill in any gaps in your audit in your midi notes. So you see that there. And duplicate, duplicates that
midi randomizing, randomizes your velocity. So if we take a look down here, I'm going to do Command
eight once again. All of this is our
velocities stocks. So these, these kind of stocks here allow you to change the pressure that
a key is pressed. The lower it is, the
software will be pressed by hitting randomize. Now since I'm using serum, I had to do some extra work. So basically I just need to map my velocity to my instrument. And let's get this something
worth listening to. There we go. Alright, let's solo this. So as you can see, everything
is legato right now, so it's a little hard to
hear what's going on. But if I select everything and
get rid of my pencil tool, this will turn into a trim icon. Since I'm casting my keys, it doesn't show up, but you'll see it. Wow. All right, it is. That's what velocity does. And as you can see, that was a really
drastic velocity chain. So I'm just going to
select all of this, but it back all up. And as you can see, we
heard all those notes. That's this little
blue headphone icon. If I now do that,
you won't hear them. This allows you to
audition when you click. Let's see here the
note you're playing. If that's off, you actually
won't hear anything. So that you can
toggle on and off. And I was just going to
show you this range here. If I lower the range,
is something like 15. Now the values that it
randomizes by will be 1-15. You can see that's
a lot less drastic. And velocity range,
we'll just kind of give you randomization
between a range. So it'll randomly choose
to play a velocity between where it's at and
-28 of where it's at. And you can set that
however you like. Up next we have our
envelopes here, which allows you to adjust certain parameters
directly within your midi. So as you can see
here, we have serum. Something that would make this really easy to tell
is the filter on. If I turn the filter
off right around here. You can hear that that Yeah, Just knowing that
that's there, it's great. And I mean, you could
always automate this directly on your
timeline as well. And you have your
node expression. Expression is pretty rad. If I click a note
here. But where to go? See? So let's also touch
on the zoom here. You got to click
over these keys and drag left or right to zoom in. I'm zooming in here,
let's click this. This gives me some
expression controls. So right now I'm in scale, so there's a little
caveat with that. If you were in scale mode, you won't see this
pitch bend range here. So just turning that off and
then pitching up allows you to add some pitch ranges
to certain notes, which for some reason we
are looping over here. Playback. Now, the problem with this
one Was it is MP enabled. Mps actually affecting
our pitch wheel here and our range
is not high enough. You can kind of hear that.
That's good to know, and you have slide and pressure. Now, for the case of a beginner, you may not be using many of these MAPE features unless
you have an MP controller, which then that MPI data
would be recorded in. Alright, I think that's
everything for this section. We'll go ahead and move on to our session view, which is this. Okay, so now that
we have learned about the plugin section here, we're gonna go ahead and add some plugins and
our plugin section. And we'll also be messing
with some of this audio here. So let's start with her
pad and let's grab an EQ. So under Audio Effects we can chop down into EQ I
like using EQ Eight, which is able to parametric EQ, which just gives you
kind of a graph. And then you can select different filter types
here at the bottom. So I'll go ahead
and use a low cut. This is sort of cut out some of the low end of this sound. And if I actually
play it, you'll see, if I solo it, you'll
see the rain. Sound takes up. I just
cut some of this out. And I'm just cutting that out because I'm going to be adding separate baseline later and this will just allow space
for that baseline. And let's take
look at her drums. So here we have this drum loop and we can add
perhaps a compressor. Ableton has one called drum bus, which will add some
punch to these drums. So I went ahead and add
a drum bus here and we can do without it. And with it. I won't get into too many
details on compression, but I think this
sounds pretty good and if it sounds
good, it is good. So that's adding plugins. And let's go ahead
and mess with some of this audio in our clipped view. Maybe here we can do
something weird with this. I want something
that kinda skips. So, but I don't want
that punch of the kick, so we'll see how that sounds. And then here we're
going to split this clip and hit command E. And we're gonna go in here, and let's try a
little automation on our lip here. Transposition. Let's just go up, see what that sounds like. Also like maybe curve, this. Sounds weird and we could
even mess with them. These work modes. We can even do a reverse by breaking this
section with Command D and hitting our name
for this last one, we can break it and
just stretch this out. Well, we have now just this last one. I think there might take longer. That's pretty, pretty
neat, pretty weird. So go ahead and mess
with some plug-ins here and check out what you
can do within the view. That's it for this assignment. I'll see you in the next lesson.
10. Session View: In this lesson, we're
going to take a look at the Session View. To get to session view, you can either click on
these three lines over here. That'll take you to session view or you can hit the Tab button. Tab will cycle between
session and arrangement view. So you can see when
we're in session view, we have a different layout. I like to think of
Session view as being sort of like
arrangement view. However, everything is
flipped on its side. So this track name here
is displayed up here. Then we can add clips here. And all of them would play simultaneously if we press
this Play button here. So all of these
are called Scenes. A row that goes across
here would be a scene. So if I were to quickly make
some type of loop here. So you can see we have
audio tracks here, drag some loops here, and we also have midi tracks. So if I wanted to pull up a drum rack and click
and drag that here. You'll also notice we
have a Play button, we have a stop button and
we have a record button. So those will behave as
they should. Hit Play. Then I can stop it
by hitting that. And if I want to
record something here, let me find my drums here. So now if I wanted to
record something in here, let me go ahead and
add my metronome here. So we can click
this button here. I just hit space to stop
that, their double-click it. You can see all the
media I recorded. A quick way to quantize here is using the shortcut
command shift do. That'll pop up this dialog box. And in here we can go
ahead and change this int. And if you have started
on, it'll just start. And if you have n down, it'll adjust the start and end
to the nearest 16th notes. And you can even
slide the percentage if you don't want it
perfectly on the grid. Alright, so that is
how you record a clip. You can also record audio, e.g. if I had audio test
12 tests 121212. So now all of these clips,
if I hit the scene, play by n. Down here we
have mixed controls. So you can control
the volume there. You could also control it
here in the clip view. Why low to S1 to test 12. And another thing is, if you notice in this clip B, we have this bar here. This bar indicates
a loop region. And I can enable
or disable that. E.g. if I wanted this to
just play as a one-shot, again, hit Command L,
You'll see it grays out. And now when I play the scene, S1 to test and two, it'll stop at the
end of the clip. As opposed to these,
you can see the icon is a circular icon and it
will continue to loop. So now if I wanted to
make a another scene, I could, I could Alt and drag things down like
this to copy them. I could click and
drag, I believe here. I'm holding Alt here and
clicking and dragging. You can see I duplicated
the whole scene. I wanted to add some
kind of high hat here. Now we should have two scenes, one with the hi-hat and
one without S1 to test 12. If I switch here, S1 to test 12, you can see that it took a while to actually
start playing there. And that'll be because of
this global quantization up here that just tries
to keep everything in your session
view synchronized. Well, let's change
this to 1 bar. Shouldn't take quite as long as 12121212, then I can stop. Here, S1 to test 121212. Alright, so now we've kind of taken a look at
how we can add clips here. We can duplicate scenes. You can rename clips. With Command R. You have a
lot of things you can rename. It could recolor clips. It select arrange flips with
holding, shift their colors. You can select an individual
and change its color. Rename this with Command R. Over here on the scene. You could rename this. This could be our intro. We could rename this command R or reverse it,
re-color the scene. So whenever you want
to stop a clip, hey, This one's playing alone. You can as long as
you find a stop, but this is the master stop. It will stop everything. You can stop here. You
could also make it so that when you see if I press play
on verse S1 to test 12, and then I press play on this, which we can Horace. This schematics loop here stops. However, you can actually click, right-click here or
click Command E, and that'll remove
the stop button. So when I press play
on this new scene, it should continue to play, sworn to test one to see
how that loop kept going. Another thing you can do on
this master section here, if you click and
drag the boundary, you can see we have extra
things that we can adjust, e.g. our PPM. So say we
want this one to be 90 and we want this
to be double that. We can hear how that will
take if s1 to test 1222222. You can see it changed
all of them to 180 here. So I can actually add a 90 here. And I can switch this back
to 9D S1 to test 121212. Also, you can change the
time signature is here. So the same way you can drag these boundaries here
to re-size your tracks. You can these as well. If you hold Alt or
resize all of them left, arrange the size range. And similarly to our
Arrangement View, we can group things. So say we have this and this, and this is another
drum rack or something we can group this VR drops. So let's go ahead and
record something here. S1 to test one too. So we have record
something in here. And now if I press play
on just these drums here, let's go ahead and everything. I press play on the group and
see we just play the group. And then I can stop
those two here. So now once you have some kind of arrangement that you like, if you want to record
into your arrangement, you can click here. And this will record into
your arrangement tab. You can see we're
recording everything from our session view. Now if I play the whole thing
you want to test 12 tabs, see that all recording and you'll also notice that the session record
button right over here. If I click that, it'll record in the enabled track
within my session view. You can see it has recording
into that same track. If I then click maybe this
one and we try it out again. And see we recorded into
this selected slot. So that's the gist of Session view of this
top section here. Moving on to this mid section, we have our inputs and outputs. On the right here. I also want to
mention that we have a similar kind of style, collapsible menus as
the arrangement view. So once again, we're viewing
or IOs here, ins and outs. We have monitor modes here
we have our audio routing. As you can see, these are
routing to this drums group and this one aster along with the
others that are ungrouped. We have pre and post buttons
over here for the sense, we have sends knobs, which a and b is replaced
these a and this would be b. And then right beneath that
we have our mixer controls, that we have a volume fader. And also see we have indicators, that one where we're picking S1, S1 to test 12. And C, this is peaking
at negative 30 -12. That's useful information. This yellow button enables
or disables the track. We have our Solo button, our record Arm button. Underneath that we
have our track delay, which will delay
a track in time. So if I were to delay
this structure here that this is off test 12 tests was to then we have these
a and b buttons here. So the a and B
allows you to create a crossfade with this
cross fader over here. So if I say assign
our melody loop B, and let's assign
our book goes to B. And then let's assign
our drums to a. If I hit play on this c1212, right over to the right, I have just my melody. And as I slide to the left, you have just eardrums. Right underneath that
is our CPU meter. This just tells you how much CPU is being used by
a particular tracks. So the higher this is, the more likely it is
to introduce latency. And you can toggle all of these menus on or off
with the button here. Very important button
to note here is this, this button here. It's the bacteria
Arrangement button. So if I tab here, you can see right now
this is in session mode. If I hit this,
when I press play, I can hear my arrangement. And if I were to start
messing with things here, you'll see that
buying comes back on. I must up the crossfade
on or something. So let's put our cross-fade back and then we can
say this one too, is functioning properly again. And once again underneath here everything
remains the same. Your clips are down here. It's very important to keep
in mind your loops because your loop length determines how quickly these
loops playback 12. So if I were to say this, a lot shorter, has, has, has, has, has,
has, has, has, has, has, has it. See that's gonna be
our loopback point. S1, S1 test one, S1 test, test, test 12. Hopefully you find that useful. That has been our session view. Next up we're gonna
be taking a look at exporting your audio and some other useful information about handling your media files. Alright, so in this
lesson we're gonna go ahead and take a
look at Session View. And here we're
just going to mess around with some baseline, see if we can come up with a nice baseline
for this pattern. So I'm going to
find a base first. They go into instruments and we don't need
something ambient. We do need something. Yeah, maybe we will
do something like this and I'll press M here. I'm pressing Z to go lower. And I'm going to adjust
this filter cutoff here. As you can see, my iPad
and my drum loop from my Arrangement View here
are not showing up there. What I could do is select
this range here, right-click. And we can say that we wanted to consolidate this
time to a new scene. And if you'll see what that did, it created a loop here. And you can see that we
also have our base here. That's a quick and
easy way to get your arrangement
into Session View. Now you want to add a baseline. So let's go ahead
and play around with a baseline chords here, alum. So we have a C and an a, an a and a, G and G and C, B and D. So maybe we'll
start one on a strategy. And then when we go to C, to D, and I was not recording, but now recording but by
pressing this midi capture, but I was able to capture that performance is a lifesaver. And I also notice that
these are not quantized. So let's go ahead and see what quantisation we'll do here. Senior, I actually think
I want to be a B instead. It's pretty solid. I'm not crazy about the
sound of this base. It's very buzzy. So yeah, this sound
is a little buzzy. Not gonna get too
crazy on the mix here. I just wanted to add a
little bit of compression, see if we can get it
to a nice loudness. And I'm also going to just see what I could do with an EQ, maybe get rid of some
of the bussiness. It's now looking promising, but That actually helped a lot. So I'll leave it at something
like that un-solo here. I also think that this
pad is way too loud, so I'm just going
to turn that down. And I might change
some of these nodes. So another thing we learned
is this scale button here. And I have been writing this in C major or a minor
switchover to date, minor, same scale but scale. So this here is kind of like
the more dissonant chord. Just going to change it to be. That's it for now. So your assignment
will just be to add another instrument here
in your session view. And also our here. Let's go ahead and
rename this scene. Just call it loop one. And if we press Play here
you can see we get our loop. So up next we will be exporting our loop and you will have created
your first loop.
11. Exporting Audio: In this lesson, we're
going to take a look at how you can
export your audio. Once you've completed
your arrangement and you want to export
a stereo file, all you need to do
is select a range. Make sure to include a
little bit of overhang here to account for any reverb
tails and go to File, export audio slash video, or use the shortcut Shift Command R. Now when you do that, you'll see that our first drop-down asks What
we want to render. Our master track will render
the whole arrangement. All individual
tracks will render each individual track
as a stereo file. And that's a quick
way to create stems. Or you can use seer selected
tracks only option, which will only export
your selected tracks. You can see renders start
and render length are already imported from
my selection here. So you don't need
to just manually this option here to include
return in master effects allows you to export
individual audio files with their respective processing
chains and returns. So if I enable that, I would have something that
would be called a wet stem. And if I disable that
it would be a dry stem, that just means one has processing and the
dry one doesn't. You can also use renders
loop that will render a loop with small fades at the beginning and
end of your clip. You can convert this to mono. You can use normalized to export all of your audio
at a similar level, great analysis file will create an Ableton analysis file if you plan on using this
in Ableton, again, sample rate allows you to adjust sample rate export settings for this 4041 is the standard
CD and streaming quality. And then under the
PCM tab encode PCM. If we turn that on, we will be able to
select a WAV file, an AIFF or FLAC. This case we'll go with wave. We can set the bit depth 16 is standard for
CD and streaming, and you have other options. For this case, we'll
just use no data there. Underneath that we
have the MP3 button, which will also encode
a 320 kb/s MP3. If you don't want
to export a wav, you can check that off and just have the MP3 or vice versa. Lastly, we have the
video tab here, which would allow us to export any video that we
have within Ableton. Since we don't have any video, this option is not available. Let's go ahead and switch
this back to Master. We have a range selected. We want to export just an MP3 here you can go ahead
and hit Export. It's going to ask you where
you want to save this, since I haven't
titled this track, let's just pretend that I
wanted to save it here. Or in a session from March. We'll save it here
and then hit Save. It'll take a quick second here. And you'll see under our Ableton
sessions for this month, we have this tutorial file. And that's it for how you can export audio in Ableton Live. I hope you find this useful. In our last lesson, we're going to take a look
at some extra bonus tips and things you should know in
case things aren't working. Alright, congrats on making
it this far in the course. And our last step will
be to record what we have here in our session view onto our Arrangement View, and go ahead and export
this so you guys can add it in the
project section below. Alright, let's go ahead and get this loop into our
Arrangement view. As you can see, we
have these two parts. We did go ahead and change
some things up here. So we're going to actually
record those changes. So let's do that
by hitting record. I'm playing our loop. We are according changes. And that's it, that's our loop. However, I'm not
crazy about this now. I think we did DNA, so maybe we'll go, we'll just stay here. And let's hit our
bacteria into here. So now we have our loop here. We can select this
range here, hit File. We're going to do export audio, and we just want to
render the master here. If you wanted, you
could also export the stems using all
individual tracks. For this course, we will be
just rendering as a loop. Then we're going
to check that on, and that will create our
loop with seamless fades. And we want this to be a wave, so we'll leave that there and
our bit depth will be 16. Let's go ahead and hit export. Now, before I hit Export, I'm actually going to
create a saved folder because I have not titled
this project here. I'll just go ahead
and save this. And I'm going to
save it as burst a molten loop and find my folder that I
want to save it in, which is this month's
Ableton sessions Save. And it's going to
ask me if I'd like to delete temporary files and I think the temporary files would be what we had here
before consolidation. So I'll just go ahead
and hit Delete. And our sessions
still looks great. Normally, when you do a lot of vocal recordings or live
takes from your interface, you'll have a lot of temporary recordings and that it would just be like your take
lanes and things like that. So if I were to show
take lanes here, you'd see there is a taken here, but if I was recording
a bunch of vocals, obviously deleting the temporary
files would be deleting. Some of these unused
files, could delete that. And now let's export. I want to actually just
select my range File Export, render as loop is on. We want to check this on if
it's off or checking it on. If you want an mp3 to, you could also check
that and you'll see we get two files here. So if I hit Export verse able
to loop, it's safe, right? So now if I go over into my finder window
insertions this month, we'll screen here my
first able to loop. Click in here. See we
have an MP3 and a wave. And let's drag in the loop
and see our sounding. When we actually
put it in a loop. Let's take the WAV file it in. Now we have that in here. Let's go ahead and
see how this loops. I put it here like this and
hit Command L or looping. And I'm going to
turn off warping because it should be
at the same tempo. So warping is unnecessary here. Let's see. Yeah, that sounds like
a good loop to me. I didn't hear any weird
clicks or pops, so that's it. You've created your first loop and you could rename that loop, could add the tempo
within finder, you could rename it as well. Probably the better, but
just for the sake of this, you could rename this
one-to-five is the BPM we're at. And we know that
it's in a minor. That's it for creating
your first loop.
12. Managing Media Files: In this lesson, we're
going to take a look at some common problems that may arise while you're
working with Ableton. I've opened up an old session that I created on a
different computer. So at the bottom
you can see there's an error that says media
files are missing, are already tried to re-link
some of these files, but I'm Ms. click something
and then I had to force quit. So you can see I have reported crash on the
right-hand side here. Anytime able to in crashes, you'll have this and you can use the crash reports to reach
out to support in this case, most of the time, I'll
just close this out. Another thing you can see is we have flips that say
they're deactivated. And that is okay. Sometimes it will
say directly on the clip that the
media file is missing. In this case. Let's go ahead and click where it says
media files are missing. You can see we have all of these media files
that are missing that I believe we're probably just in one of these
drum racks here. You can see, it'll say
sample is offline. Origin fixed that we have to do is put this drop-down here. And in case you aren't
able to find this window, you can always find it in
view under the File Manager. So I know that most of
these samples are on a separate external
hard drive that I have attached to my old laptop, but I happen to have a backup and I was able to
locate the folder. What I'll do is hit set folder and go ahead and click
the folder that it is. In this case it's samples
folder and just hit Open. Now once you've selected that, you can tell Ableton to run a automatic search
here and hit Go. Ableton will now scan all
of the folders within the samples folder
that I selected and look for names that
match these files, ableton will also automatically resolve any samples that it finds and in case it doesn't find any or find
duplicates of them, you'll have to do a
little bit of manual. Replacements is
going to take awhile depending on how many
samples are in your folder. All right, So that
took about 15 min, but that folder is really
big as you can see, thousand candidates found, 184 missing files are
replaced automatically. So you can also see here
that all these samples that were in this drum
rack here are all bound. Now, we're all set. That's how you could resolve
any media files missing. That's it for this course. Thank you for joining me. Till next time.
Nathan Scott
