Ableton Live 11: Your Guide For Musicproduction with Ableton

1. Introduction to the course: Hi and welcome to Ableton Live 11 Control Y control. Well, in this course we packed in all the things you need to know about this very big software or DAW for music production called Ableton Live 11. When you use that course, you will get your hands on all the functions, all the things that are in there in that software to really start music producing, songwriting, all the things that you can do with using Ableton Live 11th. We will talk about basic functions, about instruments, about how you create songs, about music theory. And we will talk about, um, different genres in a way. So there's a lot of information and I will show you just in a minute how you can use that and what that will do for you as a beginner, advanced, or even as a professional. My name is Philip and I'm a professional music producer from Germany. And yet we wanted to create a very big course because this software is so powerful. And I hope you will like it as much as I do. The cool thing about Ableton is that you can use it as a songwriting to, but you can as well use it as a live tool on stage. That's why it is called Ableton Live. So no matter if you are alive guy, a techno DJ or whatever, and you want to get your hands on a button or you're a producer and you wanted to have a look on Ableton and you want to start working with that. We tried to make a cool mix of both. We will talk about the life function, that life thing with an Ableton. But of course, we talked about lots of things within music production because that's important for deejays as well. Because you need to do your mixers and your live sets and master those as well. So moving through the song, we would start with an overview. We will talk about audio effects, talk about all the midi things that are in there and there are lots of instruments in there as well. We will talk about basic stuff within music theory because that's important if you're new to songwriting. And there are some very cool functions and tools that we created together with Ableton Live. Useful DAW to create chord progressions, new chord progressions and melodies by yourself. We will talk about very specific functions like warping. That's very important for bringing in audio from elsewhere. So something for you, loop fans or you DJ guys, an electric guys are there. And in the end you will find, yeah, One big song, a big mixing session. So we will definitely have our hands on how to mix and master music. We will see how you can record audio from outside into your DAW. And we will have four songs in the end. That's very amazing out of four different genres. So we will get our hands on writing a song, finding courts, sounds, melody, everything. Get that into a song structure. Mix that, master that. And you will find all those sessions within the course as well. So you can download those from this platform and open them up and start to work parallel with me while I will move with you through the things in the video, step-by-step. While I'm talking about step-by-step, if you want to use this course, It's not definitely necessary that you start from video number one. The last part, you can do that. And I would suggest that because of course we have our structure and it's very useful, especially for beginners out there. If you are already used to able to, maybe because of an older version or you use two years ago and you wanted to refresh your knowledge about it. Of course, you can go to different videos. What sounds interesting for you or what you are looking right now. So maybe it's in a way even usable our course, Ableton Live 11 control for you. If you are looking for just one feature or one function, you can jump there, get your information, and you're out and you start to work because that's what's very important for us that you come to work and come to using Ableton Live as soon as possible. And I can promise we will start within the first videos with getting you hands on your computer. So there's not, of course we're just sit there and watch and wait for you to get to action. If something is too low for you, too slowly or something is too fast for you and you do not get what I want you to do or what I'm talking about. No problem. This is a video-based thing. So you can jump backwards and forwards as often as you like. And you can even rearrange the tempo that I, moving and talking in police seven, mind if you do rearrange the tempo of the music will sound differently. So if you are in, I don't know, fast-forward mode and you jump through it in high temple, the music will maybe sound a bit different and you will not get a little tweaking, especially when I'm mixing and mastering. So therefore, I would say if it comes to music that I'm playing back while working, you should do it in original temple. But if I'm just explaining things and that's too boring for you or too slow for you. You can rearrange temple and feel free to jump in-between all the stuff. Now, with that said, you will find the sessions, you can download those and of course you can send those messages if there are any questions. And if that sounds very cool for you, I would say that's all you need to know to get started. Welcome to Ableton Live 11 control. Now, let's dig into the functions and right in the beginning, Let's move on. Here we go. 2. Session View and Arrangement View: Now let's start with an overview what we can find within Ableton Live 11 and what are the functions, the windows, the view settings, and so on. Let's start. In this view. This is called the arrangement view, and we have two tracks on our right side. So these are your attracts midi tracks to midi tracks and two audio tracks. You will find your tracks, the names of the tracks, the ins and outs and everything on the right side, which is a bit different then within other DAWs, but you will get used to that very fast. The other view is the Session View. So if you click on that little button over here, you can't switch over to the session view. It looks a bit different. Now you have your mixer view if you want to call it like that. And we will talk about some specific things just in a few minutes. So let's move back to the Arrangement View, which is very important. You can find your grid. So all those lines over here are your grid. You can zoom in by using your track pad on your laptop, for instance. Or you can zoom in by bringing up your cursor over here and hold down. You can zoom in and out by just moving your mouse or your cursor down or up. Pretty cool feature. This thing up here is your total overview. You will see all the tracks and all the clips in here. Clips are the little tiny things you will find on your track. So very important within your arrangement view. Now, let's move over to the top, to the left side. Over here, we have some separate functions. Most important is our tempo. This is the number over here, 120 bpm, meaning beats per minute. Of course you can change that. You can just dial, dial in different numbers as you like pressing Enter and then time will change, any will see, the grid will change sometimes as well. Down here. You have the time. So those are seconds pretty useful. So you know how long my parts are or my song is. On top, you have the bars. This is counting the bar starting from one to How, however, whatever length your song has. Now let's move over here. This is our time signature, meaning you have a 404 times signature at the moment, you can do the exact same thing here as well. You can. For instance, if you want to have a 34 time signature, you can just click on this little for dialing in free and then it will change to 3468 or whatever you need for your song. This button over here is very important. You can click on it and it will light up in a yellow color. This assume Metronome. This is very useful and handy if you want to start a song. If you want to control if something's in the right, in the right-click in the right counting in the right groove. It can help you to count into the tempo of your song. And this is when you click on that little button over here, this is your account in area we can choose whether there's non. So if you press Play, it will directly start with the click and the record would start directly as well. But if you press record, you can choose if you have one bar counting or two bars are four bars. Pretty cool. You can change the sound over here. Some other functions, we'll talk about that later on. But that's pretty cool and pretty, pretty important for recordings. So if it's light enough in yellow, you can use the metronome. Now, this is another thing there. You will find some quantisation functions. We will talk about that later on as well. This is a follow option. So if you start to press play and the song is moving further to the right, this makes the whole software following the cursor or the playing position. That's pretty useful as well. This shows you where you are in your grids. So if I'm clicking here, you can see this is number 13, barn on the 13th. This is bar number 17. This shows you your position where you're starting point is right now. This is pretty common, are pretty known. This is your transport section, so this is in play. This is stop if you press stuff for two times. If we jump back to the beginning to bond on the one pretty handy as well. This is where the magic happens. This is your record button. So if you start over here, you record who start, you will hear the click the count in and everything like that. This is a, sorry, this is a midi functions setting. We will talk about that later. There are some separate functions that are pretty important for using midi. This is just a punch in, punch out records section. Not that important, very specific function, but this will be very handy. You see these markers setting over here. You can increase or decrease that setting and it will mark a whole section within your song. And if you press this button over here, it will loop this section. So we'll start from the beginning of that marker to the end of the other market. And we'll start from the beginning over and over again. So the looping section over here, those are pretty important things as well. We have a little pen that we can use. This is very handy if we were starting to work on editing things. They can use this pen for a lot of things. We have a little keyboard, we will talk about that later on. We have a key function. If you click on that. Some colors will change and we will talk about that later on as well. Same with the midi function, will light up in blue and we can do things. This is your CPU so you can see how much effort you're, your PC or your Mac is bringing up for a calculating in working in processing things on your system. So please have that in mind that you can see if there's something happening, if it's too much for your computer, sometimes you need to do things for that as well. We already talked about that arrangement view and Session View. Now, those audio tracks, we have two types of three types of tracts, midi tracks. This is where you can choose from inputs, outputs you can activate and deactivate things. This is your audio. Looks like that, almost the same as just the difference in this section over here you see these little dots. And this is a level neater, a bit different. And down here we have two other tracks. Those are called return tracks. It looks like an audio track, but it's just in a whole separate section. This is our master track, this as well, the whole song. So all of those tracks are summed up together. They go through the master setting in the end, and this is where all the music comes together. This is where you will put your master effects on this as well. Mastering happens. This is where the mix ends and where we can export the whole song with all its effects and all things that you did. And to an MP3 or WAV file or whatever you want to do. Now, very important are those buttons down here. You can show or hide things by that. So this is the input output section. This is the part over here in your tracks. So if I click on that, they will disappear to create more space for your, you're attracting for your recordings. These, this button, this little r down here and it shows or hides the return tracks. You can see that if you have lots of returns running, it's pretty useful to hide them, first of all, and just bringing them up for the mixing the end. Same with this master section for your tracks, this means those, those parts here where you can activate an arm things and so on, we can hide that as well. You have a delay section that's already hide it. So we will talk about that later on as well. Now, to the very useful things about Ableton, you have, you have those little buttons here, here, and down in the right corner. They are pretty useful because they bring up new part Windows. It's not like a new window, but it brings up sections that you need. So let's start in the left corner. This is your browser setting, and if I click here, my browser will jump up. I have a field for searching. I can type in things here if I'm looking for something specific, I have collections. Those are things that I can use by myself and I can edit them as well. I have categories like sounds and you see there are some new folders jumping up. I have drums, I have instruments, my audio effects, midi effects, or plugins, clips, samples, and so on and so on. And it's obviously something you choose from here. Let's say you're looking for a new sound. All you sounds jam up in categories. And now I can, let's say we're looking for a base. I can go to the category base. Click on here and all my bass sounds will appear. And I can choose them, bring them into my session and so on and so on. So pretty useful. This is the browser moving over to the right corner down here. This will bring up your editing window. If you editing midi or audio tracks, they will show up here. Your instruments will show up here, your Effects will show up here. If I am on a track, it will show up in the editing window where I am and what things are loaded up on that track so I can work on that tweak sounds and things like that. Very useful. And of course you can maximize that as well. So if you need more space to look deeper into it, you can usually bring that up if there is something loaded right now that doesn't function because there's nothing in there. But let's say you're working on a midi and you have lots of information, so you need a bigger space for. They're pretty cool, pretty handy. Down here are some information shown up like if there are files missing or where you are in your grid, what time there is, you can see the whole time calculated together and so on. And this little section down here opens up a window that's very useful, especially if you're totally new to able to, because this is our info view. Very cool. No matter where you go with your cursor, it will show up a little information about that function. So you can see are okay, this is that function. It will explain in a short sentence or two what you could do here. And that's pretty cool. I would recommend to, first of all, leave that window up for all of you who are new to able to because it's so handy and so useful to work with them. Now, with that said, let's move over to the session view just for a short second. I already said it's a totally different look because it looks like a mixer. You have your tracks, but not in the horizontal way. Now you have it like a mixer. So down here you see those dots from the midi tracks. You see the numbers, but now you see as well, I will maximize that for a second. You will see the level meter over here. And now you can just take that with your cursor and bring it up or down. That's like really using a mixer with faders. And you have this knobs over here. Those are midi programmable, so you can bring them to a midi controller or something like that. You can use them as normal knobs on a mixer as well. So pretty cool, pretty handy as well. Those over here are your return tracks. We already talked about that and those settings are the same so I can show and hide up those things. Now you see there is little that jumped up that has to do with those knobs, stakehold sense, and you can hide those as well if you want to. This is your master section. And the cool thing about this session view is not only that, it's the mixer for your section. You have this little spaces over here and then we can create clips. If you load up a clip, this little stop button over here, we'll first of all disappear and change to a play button. And that means you can load up little clips, could be a midi clip or an audio. Bring that into or onto one track and you can arrange different playable settings. So let's say this could be an intro, this could be a verse, this could be a chorus. So you can Record in here. You can leave it running within a loop. So that's pretty handy if you use it live. And that's why Abel, whom is called Ableton Live because it's pretty cool for people who want to work with that songs are playbacks live. For instance, DJs. David gets us a very famous DJ who works with Ableton Live Lots of times because it's so useful for shows. And if you arrange those clips within one row, this row is called a scene and they have numbers. You can see that over here, Let's see number 123. This is like a master Play button. If I click on that, all clips in scene number one will be played at the same time. And that's pretty cool because you can rename that part as well. You can range a whole song and play that through. You can arrange just parts of songs so you can, in a way improvise or if you live on stage, you can work on that to bring those songs in a length that you're used to or that you want to for the day, or it depends on how the audience is working with you. Pretty cool feature and the rest is almost the same. You have the exact same transport section. Those functions over here are the same. Those functions over here are the same. Now, we just need to talk about those top settings. You know that from each software you have a Help Center. You have some options that you can click on. Midi mapping, midi keyboards, reduced latency, and things like that. You have a view where you can rearrange some things. So like infos to help you search function, you can open up the browser over here. If you're not clicking on that little thing here, then you have the part where you can create things like new tracks to load up and things like that. You have a editing function where you have all the functions like copy, paste, duplicate, and so on. And of course, a file section where you can open up new sessions, safe. In this session, save settings, safe copies, where you can find your export settings. We will talk about that later on, very important. And of course there are, when you click on Live your preferences. We will talk about that later on as well, because here are some things that you can adjust to. Do your own preferences for your, your sessions for Ableton in global. Okay, So with that said, let's move back to the Arrangement View. And now I'm loading up a new session to have a deeper look on some other things now we do not want to save that. Just a second and then the next session will appear. Now as you can see, some things change. We have a different tempo that's a hundred and one hundred and twenty. We have names on our tracks. We do not have that view for the midi tracks right now, as you can see over here, because there are instruments loaded and those things are totally new. We have a section over here. We have created a loop, and those are clips. Now let's give it a listen. What we have here. Now first thing we want to talk about is how does that clip section function? Well, if it's not activated and you want to start from the beginning, you just press play and then it will start running. When it comes to the end. It's running further on, but there's no new clip, nothing to play. Some music will stop. If I activate that loop function, it will do. The following thing. Counting to the end and jumping back. That's pretty cool, pretty handy because if you are looking for new ideas, if you're improvising over a pop because you're looking for malady or another sound or things like that. That's a pretty cool function to, first of all, work on that track, especially for those of you who are working in parts or arranging, score music or creating hip hop tracks. Because oftentimes we do not work on a whole song directly from the beginning. We just working on an idea and that's where I oftentimes use that loop function. Now, Let's say you want to change the tempo, then you just click in here, type in a new tempo. Let's say we make it very obvious. We want to change it to tempo 65 bpm. Now, all tracks will follow the new global tempo. That's a pretty cool function enabled can, because it's a big difference. Now, one hundred and twenty two sixty five. And we have a audio track running here. It's still working. Give it a listen. Pretty cool function. I'm bringing that back. If you want to start with a clip because you want to control something, just click on that and we can listen to the music and to click at the same time. Sometimes they're useful if you're controlling if the bead is right or if there is a timing problem. Now, let's say you want to rename those things because that's the number of the track, 1234. Well, as you can see over here, there is no four already because we renamed it the numbers. You can see over here what's pretty cool if you bring one trick up because you want to change positions, the numbers will follow. So now this is truck number one, this is truck number two and so on. So pretty useful as well. But let's say we want to rename that because this is a drum section, a drunk roof, pretty easy. You click on that info setting within your new track, Right-click. And now you can click on, Rename it. Pretty cool. Function within Ableton is, as you can see on the right over here they are. I use shortcuts as I'm using a Mac, it's with the command function, with the command key on my keyboard. For all of those windows guys view, you can use STR G as well. So almost all the shortcuts are the same, but it will tell you what shortcut you could use. You could click on that, do right-click, click on Rename, or you could use the shortcut command in R to rename it. Now it's lighting up and I could say this is my drums. Just typing in rums, clicking Enter and that's it. Now I do not have a number anymore in my Info view over here, but that's no problem because I see this is truck number one. Pretty useful. Let's say we wanted to minimize it. That's where this button comes in. You can minimize or tracks. So if there are lots of Tregs pretty useful, you can open them up as well. Pretty handy, Pretty cool. Now, this section is the input and output section. Those are the inputs. This has to do with your monitoring situation. You can listen towards coming in. You can listen to an auto settings. So that decides for you if you're listening to the input or the output. Which makes sense because at the moment this is immediate instruments. So we want to listen to the output because what's coming in, there is no sound is suggests information and you could turn it off. This is your output setting. There are sometimes more ways sending the music out then to the mass. So let's say you have some groups or some sense or returns. We want to bring them music too. We will talk about that when we go into mixing. Later on. If you click on the track number, you can deactivate the whole track. So let's give it a listener and deactivating the grams right now. Get that pretty useful. Sometimes I'm using that if I wanted to give a closer listen to specific things or if I want to decide, is it a bad impart to take out the drums, for instance? Or if I have recorded an idea. And I want to keep that for later on because I'm not sure if I wanted to use it. Pretty useful, Pretty cool. This is our level meter. You can click on that and dial in numbers as well. So if you want to make it louder at minus five dB right now, let's say we wanted to bring it up to 0 dB. I'm just typing in 0. And now the drums are louder. I wanted to make it unless loud. So let's say minus 70 dB. Pretty easy. Those are the sense we already talked about it in this view. Those little knobs over here, we go to that just in a second. This is our panning. Panning means if you want to bring information within your mixed to the left speaker or to the right speaker or headphones, no matter what. You can use that section you can click in here is C is for center. So at the moment it's in the middle of your, your monitoring situation. Now if you click down with the cursor and bring that cursor up, you can move the sound to the right. If you go down, you can move this sound to the left. And of course you can dial the numbers as well. 0 is four, c for center. If you bring some negative numbers in here, Let's say minus 25, I will bring it to the left side and you can see it's telling you 25 L for left. If I want to bring it to the right, I'm typing in plus 25. Now I'm on the right side. Pretty cool function. Let's give it a listen with the attack path because there is another cool feature that I wanted to show you, the whole section over here where for instruments. So I'm not quite sure what that Pat does. Now I'm taking a listen. I cannot really tell what does this sound? What does this sentence, what can I do right now? One thing could be deactivate the rest by clicking on the track numbers. But the more fast way would be to click on that little assets solo function. If I do that, this will happen. Now, everything is muted and I'm just listening to this pad right now. That's a pretty cool feature to listen into different sounds separately. So if you're looking for something, if you're not quite sure where something happens, could be a disturbing sound. For instance, this solo function is pretty cool. Last thing that we need to talk about within that section is this little button over here. This is arming. So if you want to record something, you need to tell Ableton on what track you want to record. So if this is activated, the record would start on that track. Now, if you want to record on all tracks at the same time or two tracks, free checks no matter what. You can click on that hold down shift and then you can click on sorry, you can click on some other parts as well. I was wrong. It's not shifted command wrong information most confused because the other information would be if you wanted to mark all of those, you can hold down Shift so that I can mark all tracks and I can click on arm and it will do it as a group That's one function with a shift. Or you can, if you want to do it like that and you can just choose whatever you want, hold down Command or Ctrl D on Windows. Then you can click on those and they will light up altogether. And the cool thing is, you can even choose from the separate track so I can jump over one and we call those three at, It's pretty cool and pretty useful. For instance, if you're recording drums, like bringing in eight inputs at the same time. This is a very important function. Now we already talked about renaming. We talked about this little loop section. We talked about adding click and changing tempo. Now, what about the arrangement view? We already talked about going more into detail. And as you can see right now, those are clips. There is a cutting over here, so this is one clip. This is another clip. This is a whole clip over the length of two clips over here. Those are even smaller, as you can see, this is just that length. So we have 1234 clips, and here are two clips. Again. So that's our problem. You can mix that up, whatever you want to do. You can slide them to another position, no problem. You can, of course, go to the end or the beginning of the clip and you can bring it up or down. No problem as well. You can go into your grid on a track, let's say down here, and I want to cut that part out. So now you could mark that part. Then you could do right-click and then lots of information starts up. So this is one position. So let's say I wanted to cut it out. I'm clicking cut and it's away. If you did a mistake, you can go over here to add it. Then you can click on Undo, very important function. You will use it. Lots of times. Pretty useful, but you can also just click on one line in the grid and then you could cut it as well. No problem, That's the information splitting. We do not call it cut. We would call it a split where you could do a little click and then you have separated this track. Pretty useful as well. If you want to undo that for a second, if you want to bring some new things in or if you want to cut out things, you will need those cutting function or splitting functionality. Let's say you need a longer arrangement than that. And you want to bring this information like 16 times, let's say you want to have that part 16 times now, one possibility would be to click on the drum clip. Right-click, Copy, go to the next position. That would be barn on benign. Click in here, right-click Paste. Now I did a mistake. No problem, I can slide it to the left. And so on. Clicking on here, paste, click in here. Paste and so on and so on. This is not the fastest way to do that. And even if you want to redo undo that, not that easy. Some deleting that for a second. Another way would be to click on the track to hold down Option or Alt on your windows. While you hold that key down, you bring it to the right or to the position where you want to bring that part and let go. That's another way of copying things. Can be pretty handy sometimes. But the most easy ways to mark the clip that you want to duplicate and that's the inflammation. Right-click on the lighter part and then you can find duplicate or Command D. Now if I use that, it will automatically bring the same section that I marked. The next bar beginning with an X bar is number nine. And the cool thing is if I'm using the shortcut right now and I do not have to click anywhere. I'm just doing duplicate, duplicate, duplicate. Pretty cool, pretty handy, pretty useful. Another important information to undo is Apple Z. So that's more fast. I will undo that just for a second. Now let's say you want to have the whole section 16 times. Well, you could do that track by track, but of course you can mark it all by holding down the cursor, marking the whole part that you want to duplicate. And if I click Duplicate right now it will do the exact same job for all the four tracks that I have. C. Now I can do that lots of times. Bring it down. And this is my arrangement, pretty cool function and pretty, pretty handy. So let's just move over for the last few minutes and then we're almost done with all the things that you need to know for the first view within the arrangement and Session View, Let's move over to the Session View. It's the same tracks as you can see. It's already called drums over here as well. So it takes the same names in arrangement in session view because they are the same tracks. But what is happening over here? Well, I just wanted to talk for a few seconds about this section. We already showed you how you can change settings or levels. You can do the same thing here. You can click on your level is minus seven, right now, dial in number 0. It will be loud. And as you can see, this fader position here jumps with us. Or you can work differently. Now if I press play, and once I bring down the drums, I can do that with my cursor with a mouse as well. Pretty cute, pretty useful. Another cool thing is the planning function. And I've shown you within the arrangement view that you can click and things so it can bring up or down the mouse. Now I have enough down here. So let's say I want to bring that solo, this section over here and I need to go back into my track. So going back to session view, so here we are, now we're just listening to that pattern. First of all, I want to bring it up a bit so you can hear better. Just using my cursor. Now I wanted to bring it to the left side. I'm just using the knob. And if I'm totally on the left side, the sound is only on the left. Occur. If I bring it a bit up, it will bring some parts of it to the right speaker as well. So it's not totally on the left. You can play with that, you can improvise with that, and I'll bring it to the right side and same here. Pretty cool thing. And if you want to bring it back to center, just click on that little tiny triangle over here. Back in position. Pretty cool. Now, last thing, oops, sorry, I did not did not want to open up that thing. Last thing that I wanted to talk about, of course, you're in and outs are here as well. This section over here, the sense just moving back to arrangement that we had to send like this. You can see it over here. The number or infinite thing. Well, little thing here is that we can use that function for specific sound tweaking. Now it has to do with the return tracks. And as you can read over here, it says return a. This is not number eight. This is a reverb and this is a delay with a b, and this is not number B. Now, you can bring in new returns than they will appear as C and D and so on. The idea behind that is pretty easy. You music comes within your track and comes from an input or an instrument to the output master. That's it, Pretty cool. Now you can bring a fax on the track. They will change the sound and that together will go to the master. But some tracks are some sounds or some effects do not necessarily need to be on the track. There are two points for that. One is, it's more calculating problematic because you need much more processing power from your, from your computer. If you put like a reverb on each track, reverb is a group of sounds that usually use on a return because you want to have a return sound there That's common for all the stuff. And now you want to bring those sounds from your tracks to that return track. Now how do we do that? Well, that's where the Sense commonsense and return are almost the same thing or working together. You can bring up that section or that sending up. And this decides how much of your information goes directly to the master, but to the reverb, bringing the effect on that sound. And as you can see down here, there it goes to the master, but using the reverb sounds. So in a way, it brings the sound through and other track to the master, adding the effect. Now let's give it a listen with the drums. I'm soloing that those drums are pretty dry at the moment and we have a reverb on return track. So let's bring up that knob a here and give it a listen. Now, I think that's pretty, pretty obvious. It brings in some Rumi kinds, some reverb. And here we have a delay. There's another B, so same thing here. Bringing it up. And it adds delay to the south. And you can choose within your mix how much of that you want to use. Pretty cool, pretty, pretty important thing. Now, with that said, we have several videos for effects were separate videos for more functions about clips and so on. Let's move on to the next video that we will start to work on the specific functions. So you will find all the basic information that you need to have a quick look on a specific function. Here we go. 3. Who is this Marius?: Maybe you've noticed there are two instructors in this course and maybe you've asked yourself, who is this? Mario's. I'm going to answer that question for you. But first of all, if you want to dive straight into the topic, feel free to just skip that lesson and just start learning. But for now, I am going to tell you some stuff about myself. My name is Mario's, and to cut it off to one sentence, My work is mostly everything you don't see. So a big part of my work is to meet the instructors. You will see 99% of the time in this course. So don't worry, this is the only video. I'm in front of the camera, but I'm meeting this instructors you will see in this course and we are filming the course, you are going to see, I am checking the cameras, I'm checking the lighting, I'm checking the audio, so every microphone is working just fine. So that's a big part of my of my work. So I am the technical guy. And the second part, which is a quite big part, at least much bigger part as the first one is to cut all of those videos you are going to see. So maybe you have already recognized there is some, some text flying in at some point in this course or some zoom in or to have a fluent transition between those videos. That's my work. So a big part of my work is to just set up my laptop and cutting those videos. So that's basically it. That's my part of the job and that's why my name is in this course as an instructor. For now, just have fun learning and have fun watching those videos. I'm super happy you are in this course. 4. How to start a song: Now let's get started and have our hands on Ableton Live. Just to make that clear on just to have that sat. There are several versions of Ableton. So to really be clear, of course, you can use most of the functions within the smallest version of Ableton. So there are Ableton Live, intro, Ableton Live, standard enabled live shoot. The difference is enabled to intro. You have just the normal amount of functions in there. You have less instruments and you have less sounds, less samples, less access to packs that you could download, and you have less functions already. So it's cool to get started. It's Cooja, get your hands on a button. But at least I would suggest if you want to really get the most out of the course, Jeff standard, or if you really want to work through all of the stuff that we have created in this Ableton Live 11 course. To get your hands on Ableton Live 11 suit because there you have all the instruments, all the effects and so on and so on. Now, for those of you who are totally new, this is the section where we start to have a look on the different functions, the different Overview settings there as there are the arrangement view on the Session View. So getting into all the details within Ableton, just a quick overview just to talk about the main functions and the main idea behind Ableton. And as we go through the course, we will see step-by-step how we can dig deeper into separate functions, sounds, effects, and so on and so on. I think it could be a good idea for those of you who are already used in Ableton, used to the workflow and a well-done maybe to step through the videos as well. Because sometimes for me it will be interesting as well. Sometimes there are some ideas or some little things that I might say or might show to you that you might already not know or not use right now because there are so many new functions within Ableton Live 11. So with that said, let's get started with the arrangement view and overview to start working from there. 5. Setting Tempo: Now let's start with one very important thing that you usually do before you start recording. That's setting temple. Now, how can you do that then? I could say three ways to do that. First thing is you go to your tempo setting and now let us say, you know what temper you need to just click on temple. And let's say we want to record a song at 90 BPM. Just dial in 90, enter. That's it. That will be temperature setting. Now you could start activating the metronome. Click on the grid partway. Want to record on the part that you want to regard and start recording. Pretty cool thing. Now, let's say you have the problem that you do not know how fast your ideas. Let's say you have a guitar riff and you're not sure if it's 90 or 95 or 87 or something like that. That's where this tap tempo section camps in. If you click on that at a time signature, right at the moment we have 404. You can click four times within the Temple of your quarter notes for your riff. So I will show that for you. I'm just using my cursor 1234. This is the table using for my roof. Now you can see the number at the tempo section changes. I would recommend to do that like three or four bars. And now Ableton, that tells me, well, it's around 92.37. That's a bit nerdy to me, we'd like that. So let's say I'm just making that a round thing. 92, that's a temple. Now can activate my click. Now you can first of all start to press play and play along with my roof to check. Is that a good ten boys there? What I was looking for, if you want to increase or decrease, it just type in higher or lower numbers. Pretty easy thing. One thing sometimes, it depends on what system you uses. The mouse or the trackpad is not that good to tap in temple where you can easily with a key function over here, we'll talk about that just within the next video. You can bring that function to another key. It could be a key on your computer. It could be a key on a midi controller, MediaPlayer, midi drum pad or whatever to make it more specific, to make it more accurate. Okay, so that's the second way, how you can change tempo settings. The third way, and definitely not the most common is, I will bring that down a bit. The master way, if you click on that little button over here, the master, we will jump up and we can still bring that a bit more up. Now, if I press the key a or my computer, this section appears. This is for optimization. Now you can see mixer and song tempo. Here I can decide what my song tempo isn't. That has to do with that red line. So as you can see here, it's 92 as we have over here. So I could bring that line up and That's a bit complicated. Now I should mark a section like this. Then I can bring up the lion. You see it's all blue and I want to bring it up to 122 again, so I'm just bringing that up 120 to 120. Okay? So that's another way to do it. It's a bit more complicated because you need to mark those section. As you can see now, a little red dot appears over here. That's because you have an optimization right now. And this is more a function that you would use if you have changes within temples. So let's say you have a progressive rock song. You want to change the tempo. You want to do a ritardando, you want to do a written on there at the end of a song. Those are parts where you sometimes want to work on that line. So maybe, let's say we are at 120. Now this is the end part of my song and I wanted to bring down the tempo a bit. Then I can click on that line to set a market marketing point. I can take that button and bring it down. And now my temple would decrease. Let's give it a short lesson because it's a cool function with a click, because the clique follows. So at the end of my trek and clicking within the grid to start over here. This is 120. Now see, listen what happens in C over here? Now my tempo goes down slowly. Pretty cool. You can make it more harsh like that. Now give me listen. That could be a Coleridge Madonna for instance. This is more a specific function. You do not necessarily need that. So I will delete the automation over here and we will leave it at 92. That's the idea of setting temple using that button, using the tap tempo function or changing the global tempo settings down here. 6. Key Function and Short Cuts: Another pretty cool and impressive feature is the key function. We already talked about shortcuts. I hope you all know what shortcuts are. Those are little key functions that you can use. And as I already said, you have some key function that you can see if you bring your mouse to it. Let's say you have the info box, box open day can see our grade. This is combined or are put together with a space button. This is the space button as well. And double-click does it isn't that we already talked about what happens when you open up windows like that. You can see, sorry, you can see your shortcuts over here. From time to time, you will learn those shortcuts. It's pretty important if you want to get, get faster to the end, if you wanted to become faster in the use of Ableton Live. But there are some functions that do not have a shortcut. Now you could do two things. You can bring that to a midi function. We will talk about that just in a second, or you can arrange new key settings for your session. And that's what I usually do right from the start. So if you click on this key button over here, you can see all those things that are orange can be brought to a specific key on your keyboard. Only on a Cuban. So it's really like a shortcut. So let's say we want to get faster into recording. I do not want to bring my, my cursor up here all the time. I wanted to have just one button that I can press to stop the record. It's so easy with an Ableton Live. Unbelievable. Just click on the function that you want to create a new button for. Let's say the record button. I click on that. Now I press the key that I want to act with it. So in my case it's the button. Are, you see the little r over here? And I want to bring my metronome in as fast as I can. So I'm clicking on the metronome and I'm pressing down m because that's the button and I want to use what are sometimes need is following options. So I want that the arrangement follows my cursor over the player. I'm clicking on here and I'm using, let's say button number q. I want to bring in a looper function. So I'm clicking on the loop function over here and I press down L. That's pretty cool. Of course you could do furthermore things because there are so many buttons and you can click on and you could even bring in instruments, or you could bring in effects that you could click on and off or separate functions by that key functions are pretty cool. Now, I'm just clicking key function a second time and now you do not see anything. But if I press are right now, see what happens. Record button appears and I'm starting to record. Pretty cool thing. I'm just pressing buttons are, let's say I want to bring in my metronome, so I'm starting my, my transport. Now I want to give you a, give it a listen to the tempo. I'm just pressing down M thing. I want to activate my loop, pressing down L. Jumped out here. Let's see if it works. Yes, it starts from the beginning. Now I'm pressing L again because they do not want to have that loop. Furthermore, let's see if it works. It does. My cursor is running further on and loop is not alighted anymore. Pretty cool thing, very impressive thing. You can do almost everything by using that key function. So workaround with that, and we will talk about templates later. You can save that setting as well. So for instance, if I open up a Ableton session by myself, a template that I created, I usually have my, my most important key functions saved already so I can start directly with working because r is always the record button, pretty cool function, the key function. 7. Creating Audio and Midi Tracks: Now let's have a look on creating new tracks. As I already said, we have three different tracks that we can use. Those are midi tracks. If you have no instrument loaded up, you can see that it's emitted tricked by those buttons over here. Then we have audio tracks, there are no buttons, there's already a level meter, and then we have the return tracks. Now it's pretty easy to create new tracks. Let's say you wanted to create a midi track. Just click on the position where the track should appear. It's almost always the same. The new trek will appear underneath the enlightened track that you have chosen right now. So let's say I want to have a third midi track. I'm clicking on the track to. Then I'm going to create, insert midi track. And immediate track three appears same thing with audio. I want to have a new audio track over here, so I'm clicking on audio. Create, insert audio track. That's it. Of course, if you have a closer look, you have shortcuts for that. So if you're using Command T and audio track will be created. If you press down Shift Command T, you will create a midi track. And if you want to create a return track, then you use option command and t. Then of course down here they will appear something that Let's give it a try. I'm just clicking anywhere, option command and T. And as you can see, I have a new return track down here. Pretty cool thing. Oftentimes it's very, very, very handy. Let's shortly talk about, we already talked about renaming, but you can change colors as well. So if you want to have those audit treks the same color, you can click on the information part, right-click and there you have all the colors that you can choose. Now let's say you want to have those all lining up in green. I can press on the green that I want to have and do that track by track. I can also already talked about that as well. Light one track, hold down, shift, click on all the three tracks. Now I'm clicking on one of those tracks and I see all those are three different colors and I wanted to have that kind of fall. And as you can see, now the coverage changed for all of those. Same thing for the midi tracks. You can change colors over here as well. And yeah, that's it. So you can create it by using shortcuts Command T for audit, drag, Command T and shift for a midi track and Option Command T for a return track. Or you can use easily that creating section of the hair. 8. How to use click: How to use click in your tracks? Well, we already talked about temporal settings. Now, there are two important ways how to use click within your track. First thing is setting up the click, this little down bar here. So if you click on that, you can choose the count in settings. So if you have none, recording will start directly. You can count. And for one bar like 1234, recording starts, or even two bars, if you need more preparation time, you can change the sounds of your click if you want to. And you have some possibilities for different rhythms, sounds that you can use over here, not that important. Now, there are two ways that I oftentimes use a click. First thing and most important thing, no matter if you're in the arrangement view or Session View, if you start your recording and you do not have any time reference recorded already, like if you're using a drum sample for instance, you do not necessarily need that. Then there are two ways where you need to click. One is to get a reference before you start recording. You need this count in. Because if you do not have that, you are not sure if you're in the right temporal for the rest of the song. And the worst thing that could happen is if you do record without a click and you want to record the next trick because you're producing yourself alone. I'm not talking about you as a band that could be setting where you do not need a click because you have a drummer, you played together, you record everything at the same time. But if you as a producer starts to create your things on your own, then you need to set a template and you need a count into really work on that. First thing would be to get into the groove, to get into the right counting. But if, let's say I can demonstrate there just for a second, click is now deactivated and I wanted to record my guitar ideas. So i'm, I'm activating distract. I'm renaming the track, let's say guitar. Now I stopped my record from track from BOL number five. So I'll click the grid. Now I press my AR button and I've started recording. Now we have a count in because we said, please count me in for one bar. Now, see what happens. We had four clicks to get in. Now we're recording but there is no click anymore, so the reference is gone. That can work. But as we are all humans, of course, we won't keep that time as accurate as if we would have a reference further on. And the cool thing is if you have, of course, if you're using headphones while recording with a microphone or use your plug-in your guitar directly into the session. Then of course, you would use the metronome for a second function that's to keep it running. And now if I start recording by that, I have to count in. You can see there's nothing happening for the first four counts. 234. Now, my recording is running, my metronome is running as well. Pretty handy, pretty useful because I have a reference and I know where to put all the notes are my riff of my guitar part of my core playing, whatever you want to record. A pretty common function for metronome, counting in and keeping your time while recording. Well, another function could be that you already have something recorded and you have the fin. There are 23 nodes in the wrong timing position. A click can be useful here as well because you can activate the click, you hear the 1234, you hear your GitHub playing. And now you can take a closer listen to the one or two nodes that are maybe wrong. You can really have a auditive reference That's pretty, pretty important. So that's the way to work with click. Now, you can just decide what sounds you want to choose. You can choose what count in time you need, up to four bars. And you can activate or deactivate the track and keep in mind if you have two key function brought to m, That's what I usually do. I'm just pressing down my M button to activate or deactivate the click track. That's the way to use click in my open. 9. Midi: A key function with enabled live is media. And media has so many functions, so many things that we need to talk about. We already have free midi, midi tracks running over here, but there is nothing happening. Now. There are two things that we need to talk about. How does midi coming into your track? And how does midi get out of your truck? Well, one way is to bring in midi instruments. Now, we have immediate track already created. And if you want to load up an instrument, you just go to the browser, go to sounds. And let's say we want to have a, I don't know, when we want to have a piano keys, then we can just take one of those instruments, grab it, bring it to the midi track, let go and you see the editing window goes up. This is my instrument. Now I have that loaded up on the track. And if I am that track, I could start playing it by an eternal instrument. Well, that's a pretty cool thing because let's do it in another way. I deleted track totally. Another way of working around here is to bring up an instrument. By that, if you just take the instrument and bring it to this position where you can read here, drop files and devices here there is no track already, but I can bring up a track by that. So I'm just letting go in that section of Ableton. And it will automatically create a new track. Name it by the name of the instrument with the number of attract, the instrument is already loaded up so I can directly start to play. And cool thing is you have the Arm button activated directly so I could directly start to play. Now, with that said, you can bring up an instrument on a midi track or you can just drop in immediate instrument to create an immediate track. Pretty cool. Now you could rename it and so on and so on. But how can I bring in that or use that sounds where there are two ways. Let's say you're using a computer, you do not have any device to bring in information because we need to talk about midi. Midi is the function that you use if you do not record audio. So the difference is audio is recorded in your computer, so you need the instrument, you need the drum sets, you need your vocals and a microphone. You need a guitar that you would play analog instruments, bring them into your computer and record those on a audio track and analog audit track. Midi is the information if you want to bring computer parameters and values into your computer. And the computer can bring that into sound by using midi instrument. And the cool thing is if you have able to live in the suit version, you have tons of sounds and instruments that you can play or program to make a welcome play it. So if you do not have a drum set, most of the produces nowadays do not have a real drum set in the studio because it's so much time wasted to set up the mic microphones for that setup, to set, tune the set, tweak the position of the microphone's. Have a great recording chain to bring that into your computer. It's so much easier to work with a drum sample library or a drum instrument to work with meeting. Now, if you do not want to do that with your mouse, that could be one possibility you could create a midi clip. I will do that pretty easy. Now I could arrange my media information in that editing window down here. We'll talk about that in a separate video. Another possibility is to record my immediate right now. We have that aren't already, but how do I recorded? Well, that's pretty easy. We have two ways to do that. One thing could be to click on that little key function over here, and that will activate the key board of your computer. Now let's say I want to stop my recording at bar 17. I can start to play over here. That's pretty easy. I'm just using my, my keyboard on my computer. See that? Now I'm on the track of my instruments. And if I start record now, I'm just clicking on here. For bars. Pretty easy thing. As you can see, a track is created and clip is created. In that clip, I can see what I've done over here. Those are my midi notes down here just a second. So that's one way to bring in information into able to. But as you can hear, it's not that cool, It's not that realistic. And down here we see velocity, we will talk about it in a separate video. Those values are all the same, so my keyboard is not able to get the information how hard or how soft I press my keys and that's the thing we're midi keyboard has more functions or more possibilities. Now, of course, you can use a midi keyboard, like I have over here. This is a master midi keyboard. It's just a use BY thing. It's only a keyboard. There are no sounds in here, so it's pretty cheap. It's not that expensive to buy, things like that. I can bring that via routing, via USB to my Ableton sounds. And if I now activate record on that track, I can use these keys. See that? Now I'm playing the instrument in my computer. If I want to record that, I just do the same thing. Click anywhere, press the record button, and now I can start recording. The cool thing about that is if you take a closer look on those values, you can see this is what I recorded. Down here. I see different values for each note that I played. Everything is recorded. I can re-create that. If you're used to play in keyboard, if you're used to playing piano, that's a farce and easy way to work around with meeting to really recall things like that. Pretty cool function. And yeah, let's move on to the next video. We'll talk about further midi functions and further things like that. 10. Creating a Midi clip: Now how can I create a midi clip? Well, that's pretty easy. You have two ways to do that. We already have loaded up our instrument over here. We already talked about the possibilities to bring in midi instruments in your session and midi sounds or midi values from outside or from your keyboard. Now, if you want or if you are not that keyboard player, there are two ways. One is you create a midi clip. So let's say I'm just want to bring in eclipse to bar 17. I'm just making a double-click. Then I created a clip. I can increase that clip. Let's say I wanted to have that length. Now I will bring up my editing window. And now I see this piano grid over here. There are two ways to do that. I can just click in here, double-click brings in a note. So if I now press play, I can hear that note that I created. This grid is a very important thing. We will talk about that separately because of course that has to do with Temple, with rhythm. You can create different things in here. You could also use our pen too to bring in some nodes. So that could be a possibility. Sounds amazing. And of course you have some, some informations for that. So you can, for instance, just bring in a scale like a C major scale. And then you will see all those nodes that are green in lighted are out of the C-scale. But I think you cannot see really what you're doing. So there's a cool function called folds and there you can open up the window. Now, we only have the notes that we created in. We can see this node is not out of the C-scale. This is not about the CSCA and so on. Now you can work with the fold function to see the nodes, only the nodes that you created. If you want to create a melody, you really have to work in here. You can bring it in a better viewable position by using this section over here. See, there you can see your midi notes. You can click it in and you really can range melodies. If you turn off the pen, you can even work with the length of the notes. So you have all the information to your hands if you do a double-click and creating a midi clip. By that, now to all the guys out there who are more into playing an instrument, you can use. Your external media device, could be a midi controller, it could be a midi drum pad, it could be a midi keyboard. I have a midi keyboard already in my tracks. So if I want to create a midi clip by an idea is pretty easy. I'm just clicking on the Boulware I wanted to start. Then I press record or press my button are because that's my starting point for recording. And then I have account in 23 and I can play. That's pretty easy the way to create a midi clip and it will stop when I would stop the recording. I can use my my my external device to give an information as you heard or you already have seen, if you are more into playing piano or playing a keyboard, that's pretty easy because if I just opening up it up for a second, bringing that information into my midi clip by using the Pen or my cursor. My mouse is a very long period to work on. Now, I have my midi information in here and what I can do with that, we will see within the next video. 11. Quantizing Midi: Now that we have all the information in our midi clip, we created two midi clips within the last video. This is just by using the pen function. Not really cool metal d. But the good thing is, if you have a closer look, all is perfectly on the grid. The grid and I'm turning off the scale just for a second because it's easier for you to see. The grid is my orientation within the rhythmic arrhythmic things. So this is a 16th grid right now you can change grid by doing a right-click. And then you can see you have an adaptive grid and you have a fixed grid. Adaptive grid means you can see how you can change functions. You can see the height or the length of the notes. So you can work with that. Now you have fixed grids, so you see eight bars. Like this. You have 2 eighth notes or 16th notes. So this is what I'm working on a lot because sometimes I want to change that. Most of the time I'm working with 16th or 32 because that's very, very, very, very short. So I have lots of information as I can turn around or tweak around my notes pretty easy and I'm not jumping all the time and bringing up or down the temple, then you have a possibility to turn there to triplet. That means that you have a triplet setting within your counting and within your grid. That's sometimes important if you're working with triplets in new music, for instance, if you're doing blues music and everything is shuffled or you're using a shuffle Music bit sophisticated, but just to have that set, you can use a triplet grid as well. Now, we have turned everything to our 16th grid, a grid, and that's pretty important and pretty, pretty easy to work with. But here everything is fine. And as I said before, you can click on each node. You can activate that little tiny headphone thing over here to prolong a node or two, bring it, bring it down to two change things. You can bring the node to another position. So if you click on it, you will pre-lesson it by activating their thing. So you can turn into another node or you can bring it to another beat in other position within your grid. That's pretty easy to work around if you did a mistake or if you want to change things. And even if you wanted to change things in the future while you changed your arrangement. Very important. Now let's move on to the thing that I played by myself. And as you can see right now, I'm making the bigger. It is not perfectly on the grid. See that? This is too long, the node, this is a little bit before the next beat. And that's a one hand due to my poor keyboard playing. On the other hand, that's because I'm human. Although I could use a click or things like that, I'm not perfect. So this is sometimes very cool because if you wanted to have a more realistic human feeling, new music, that's a thing that you might want to keep so that it is not that perfect. There are two informations about that. Let's say you want to bring something not perfectly on the grid, then you can right-click in your grid. And you can just see this function fixed grid off. What happens now is that I can take a note and I can bring it, sorry. Take node. I can bring it to whatever position I want to do. That's pretty useful if you want to have some little nodes that are not perfectly on the grid or not imperfectly fitting together. So I'm turning on grid again, the 16th. Now let's say we have the whole section plate and there are so many little tiny arithmetic mistakes. Now I do not want to bring know Pernod perfect on the grid. What can I do? There is a function for that. That's so awesome and so cool. I'm just clicking my grid. I want to mark all the shortcut for that will be Command a or STR GA. So now everything's enlightened as you can see. Now, right-click within your grid and then you can see this function called quantize. And underneath that Quantize Settings, the shortcut is here as well. Now, open up the Quantize Settings. Then you can see quantized too. And here I can get shoes, my current grid, and I can choose some values for my countings. I usually take 16th notes as well because then if I played almost perfect or near to perfect, that would bring the notes to the nearest and 16th note within the grid. And oftentimes that works. If I bring it to 18th nodes and you played 16th, then there will be a new groove or a wrong route. So that's not what I would recommend. Those t's are four triplet things as well. So if you have a shuffled thing and so on, That's pretty handy if you have some specific rhythms, but most of the time, 16th notes are perfectly fitting. Now, I can give in a amount of the perfect ness of my quantization. I have that for 100% right now. So it will bring the node perfectly on the next beat. And if I click Okay, please have an eye on my, my notes down here, for instance, over here you can see that's before the beat. Now I'm clicking OK and see what happens. All notes jumped to the next beat. Now, if I zoom in, you can see all those nodes, all those footnotes are perfectly on the grid. That's what happens when you're using quantization. So you can, you can use that for the whole section. You can use that just for one part of the nodes. Let's undo that one more time and I will show you what I mean. Now let's say I just wanted to bring this chord perfectly on the grid. Of course, I can just mark that part. Right-click quantize settings if you want to control that everything's fitting in unclicking, okay, and just those notes are quantized properties. So a pretty cool feature for many settings, if there are mistakes in rhythmic settings, or if you want to bring everything in perfect time for a drum groove that you played by yourself. That could be very important. This is the idea of quantisation, very important feature. 12. Velocity: Another thing that we can change after we created a midi clip that we can work with that has a very specific function or that we need if we played music or midi information by ourselves. And there are some strange things about that is velocity. Velocity is a thing that has a value from 0 to 127. It means the intensity of the note plate. You could call it attack. You could call it intensity, as I said before. If you want to understand how many functions it's pretty important to talk about that a midi instrument is based on samples of an original instruments. So for instance, if you have a drum set or as we have right now in our recording a keyboard. They recorded each sound that that instrument makes indifferent intensities if the instruments pretty good sampled. That means you have intensity levels from 0 to 127 for each node, for each sound, for each part of the drum set, whatever you can imagine. Now, the cool thing, and I talked about that just the moment we created this midi recording. The cool thing about that is you can work with velocity afterwards. So the difference is if we did an audio recording, the intensity. And with that you strong your guitar strings is the same. You cannot change that. You need a new recording within a midi clip. We can change that. This is the midi clip I created by clicking into the grid using the cursor. And as you can see down here, there is that word appearing called velocity. Now bring that up a bit. Each node has its velocity value and as you can see, it is for all those notes to same. Well, that's logical because I used my mouse to click in or I use the pen tool to get in a way, paint in my notes, so it takes the value by 100 and that set. I want to change the metadata. If I want to increase some of those things, I need to do that afterwards. I'm bringing up, Let's give it a listen. First of all, first thing because of rhythmic things, it's a bit nerdy, but I'm sorry for that. And bring that up here. So give it a listen again. That's how a melody sounds. A bit like eighties, like Super Mario or something like that. Now I'm bringing up that value because I want to have a hard note on the beginning. And I bring up that node because I wanted to bring that up again. Now I'm playing around with that a bit. Just to have those two nodes. As you can see, this is the value for the higher node, this is the value for the low note. If you click on them, the nodes will light. Okay? I bring very low. Now give it a listen. For, for example, this node is very, very obvious that it's very low, but the sound is not that hard. That's what a real keyboard player would probably play. You can work with the interpretation of a melody. Let's move over to my playing and see the difference. Those are the velocities that I played in. And that's a cool thing if you're not using the keyboard. If you're not painting in the notes, you do have different velocity values if your keyboard is able to send that information. So if you're really working around and playing yourself until you're getting better and better. You can decide why you are playing with what intensity you plan as you can see, because it is a human thing, there are different velocity values for different notes in here and you can click on those because those are chords. You can see this is the velocity for this node, for that node, for that node down here. Interesting. That's for that node. So that's what my fingers did while I was playing that naledi. Now, I can listen to it if it sounds natural. And it's quantity not even quantize, we talked about that before, but it sounds like a real playing. And if there would be one thing that I do not like because the velocity value is too high or too low, I can change that within this grid. Pretty important function, especially if you work with your mouse, with your keys from the keyboard. First of all, I would definitely recommend to start working with a piano. And even if you're not able to play chords with four nodes at the same time, you can do that recording. After recording, we will talk about that later on to bring in a whole course, just playing node per node. So that's the thing with velocity. Very important topic. 13. Recording and creating Midi Drums: Now a little different is the function or the idea of creating midi drums. So first of all, let's create a midi drum section. I will use this midi track over here. So I'm opening up the browser. I'm going to drums. And the cool thing is there are different drum kits over here. So I can just take one. If this little headphone button down here is activated, then you can give it a listen, like a pre-lesson. I'm just moving through. So let's use that to four, demo, dropping it on midi track one. Now you can see you instrument. We'll talk about that separately. So not that important information. Now I could start to record it, but the difference is because drums do not have notes. It's not like you're playing a C chord or an a minor chord. There are some roots to it. So let's say I wanted to start recording at bar 32. I need to click off course are activated as well. And if I wanted to start my recording, I'm just hitting R. But now let's have a listen or a closer look to the keyboard. It depends a bit. So you first of all need to see opening up my drum. Again. This grid is a, in a way, combine two midi notes on the keyboard so I can now have a look where my drum sounds are. Now here's nothing on. Here is something down here. There is my kick. You can see that if I'm hitting the node, this little Play button down here appears. Give it a look. See the next node, a D would be the snare next to it. See that? As you can see, it's chromatic from one key to the next. Those are my tracks. And so now I can have an overview what is happening here. Those are Toms, those are high heads. Now you could play a drum set by using your keyboard. Of course, you can do the same thing as before. We can create a midi clip and just use the mouse to create a beat. It's pretty, pretty easy and that, those are the two ways. So I want to talk about that again. We will create a midi clip at bar 33. Let's say we want to create two bars of a beat. So I'm opening up my editing window. Now I can see my notes over here. I'm just having an overview. This is my kick drum, snare drum that I want to happen. This is the higher that I want to use. So now I can do it the easy way opening the pen. Saying I want to have a bit like one. Then snare on 234, snare again, what does it sound like? That's pretty cool. That's exactly what I wanted to have. Now, I'm looking for the high head. That's the sound that I wanted to have. So I'm bringing in my head pretty easy. Now we already talked about velocity. Well, Let's have a look. Maybe it sounds a bit more realistic if I work around here. Let's bring that up. Oh, sorry, that was wrong because our, our enlightened. I'm just bringing up that node, bringing up that high head nodes. I want to have an axon on the 1234. Maybe you can hear the slight difference. I could bring down those and you can make that pretty easy if you hold down Command, you can mark, sorry, you can mark, Come on. Those nodes that you want to create. You can bring it down, down, down. You need to be careful there was the kick again. Or you can use the whole section by arranging that. But if you want to have that thing, you really have to be careful bringing it down a bit. The last one again. Now you created a slight difference. Maybe we won't hear that that much. But it sounds a bit more like human feeling. Take the click away. The, the higher it is a very important thing if you're always hitting it with the same value, that's too hard. And as we said before, if you use the mouse or the pen, you will get in the exact same value. So playing around with velocity is in a way killing your time, but it will make it more realistic. It was just a short demo. I would do a lot more of those tweaking right now. So bring it down again for me. The same thing as before. Let's say we want to record it. I prefer that and that's pretty cool. So I would start to record round here. Now I know this is my kick drum, this is my snare drum. This is my hired and we have some different things on my keyboard as well. That's what we would have on a midi drum controller those paths and could use those as well. This is my drum. This is this node. So here's my snare drum. And then I need my hi-hat. That should be this one. We could use that to blame play my drum set or I can use my keys. See that? No matter if you use a drum pad controller for that, some people liked it and you have to same single shots here. So we have some light at nodes, little velocity. You can bring that up same here. That's what makes it realistic. So I'm using the keys here. Normally I'm pressing R to make a record. Now I'm playing the drums. I'm sorry. I forgot to arrange my metronome. The metronome is set. Now we can start record drums. That's it. This is my clip. Can bring it to the answer to bars. And now we already talked about that. That was not that good, that right in time you can see that it's not on the grid. So I'm marking all command a right-click quantize settings. I see those are 16th notes, so I'm clicking OK. And now I have a perfect beak. The same beat as we had before, but I can see my velocities are changing in a way. Funny thing is my kick and my highlights are always 100%. That's because I really played it hard. That's the way to record a midi track to get into that topic. The more specific things about drum recording by using immediately. 14. Layering Drums: Now that we've recorded our first midi drum tracks are created those with our cursor, with our mouths. Let's talk about the differences. There are two things and that makes drums a bit specific we need to talk about. So let's first of all, we have a new session right now. We have two midi clicks, midi clips created over here. Now I'm opening up the browser. If I want to create my own drum sounds, we already talked about how I load up a complete drum set. There are two instruments that can do that. One possibility is to open up the drum rack. If I put that on media trick one, this set will open up and we already talked about that. Those are my midi notes. If I take my, my keyboard, you can see this would be node c1, C-Sharp on and so on. But there is nothing loaded in. The other instrument. I will put that on media track number two I oftentimes use is impulse. Put it here. You can see it looks a bit different, but when I play over here, that's the new C. I have to have a quick look that's over here. This is this node, this is S3. So see, we do not have C-sharp is just C, D, E, F, G. That's pretty useful, um, but those are just two instruments, so there's nothing in there. Now we have two more possibilities to work with that. Let's start with the drum rack. You have a folder in here so you can find some of those sounds directly loaded up in here, or you use the drum sounds by itself. The other possibility for the impulse track is you can open up that as well. You can see some prepared or some, some different drum packs are whole instruments. So that's one thing. But what is if we want to load it up ourselves, That's a cool thing as well. If you go to the category drums, where you find all the complete prepared drum kits that you can use, whether as a drum brake or other instruments. Pretty cool, but let's say you want to do your own custom drum set. Well that's pretty cool whether you're using drum, regular impulse, just open up drum hits. And now you find different categories over here to combine those by yourself. So let's say we need a cake, we need a hi-hat and we need a snare for a pretty cool thing. Well, first thing I would do is ongoing for a kick, can find those here. We already talked about that. We can listen over here. Now I'm going through with my arrow keys. That's cool. I'm deciding to take that. Now I'd take that sound and drop it onto my key. See one over here. So let's see what happens. It's loaded up, this is my sample. I can see that over here. Now I can listen if I click that little button down here. But most important thing is now when I'm creating the node c1 within a midi clip, no matter what you're doing, I can play that note. I'm using my keyboard. Where am I? Just a second. So now I'm on the wrong track. Sorry, this is here. We have our sound, but it's only one sound loaded up. So let's go to the snare section is over here. I'm looking for a snare. Same thing. This is active so I can give it a listener. Let's say we wanted to take that snare, taken a down, dropping it on. That's your thing. I would drop it on D1 because I'm used to the way it's laid out on my keyboard in the end. So let's put it over here. Great things and I have a kick and snare. I need a high head. This is our section for high ads. Let's have a look. Those are shakers, that's wrong. I want to have highest. That's cool examples. So let's take that. I will put that on F sharp. One same thing here because I'm used to it and where it is. Now, I do only have three sounds, hi-hat, kick, and snare, but now my instrument could be ready, I could do more high It sounds at sometimes very useful. If you want to have more articulation difference, more different sounds on your hands, you can load up the whole instrument and you can even go further. So this is only the section from C1. I can go up here, That's E2. You can bring your whole keyboard full of sounds that you can use samples out of that drum parts to play an instrument. And now when I am that and I can start playing, I have my instruments ready. Next cool thing is, you could save that. So if you press that button over here, sorry, that was wrong. This is my button I'm looking for. If you press a button over here, you can start your own instruments. So this is your user library, and there you have presets. So I could create a drum rack, I could rename it, I could tell it that. I don't know. Drum for fun. Now I have my own instrument ready. Okay, So the name changed, and now I can use that for my next recordings. Pretty handy if you have different sessions running and you want to have the same sounds directly from the beginning. Pretty cool feature. Now let's move to impulse. Same thing here, it is empty. And I have that grid over here. And what I think is so useful from time to time, you can lay it down on only the white keys. That's what I sometimes prefer. So I'm going to drums, going to the same thing. So we're going to kick and I'm taken out. Let's say, let's take the same sounds on the first patch. As you can see now I have it here. Now I'm moving on to the snares again. What if we take there was one. Take it to the next. Then we need a high head. Take that on the next part. Pretty cool thing. Now I can play again. Sorry, where am I? Wrong thing again, arm. You see, you will sometimes forget that. Now you have the instrument over here. But what we need to talk about as well is we have a drum rack. If you click on a sample, you can tweak things. As you can see, volume of that sample is set to minus 12. If you think my kick is too low in volume, you can change that. That's for each sounds. So if you load up samples and they have different volume levels, you can bring that together. It can of course change different settings. You have a gain setting, you could slice it. That's pretty cool. So let's say maybe that could work for the snare as well. Not, not the best part two to show function like that. We will talk about that later on, but you have different sections, so won't shop thing as it's called over here, is the common thing for samples that are percussive. So if you use drum sounds, you usually have a one-shot thing, like it is over here. It's our sound. We can change several things, but most important is that you can change the node, you can transpose it. So let's say the sample is too low for my sound. You could bring it up one or two steps to tune it within your song if necessary. And you can bring up or down volume. Same thing. With an impulse, you click on the sample that you want to talk about. You have the transpose over here. So let's take snare as well. We'll bring it up. You can tune it. Then you have the possibility to bring in some kinds of effects like a saturation. And everything in-between. You have a little filter for changing the sound a bit. You have a decay. That means how long the sound is ringing out. You can even change panning settings. So if you want, for instance, sometimes I want to have the hired more to the right side and I can bring that one to the right speaker. Pretty cool. And of course, volume setting for each separate sound, volume setting for the whole thing. So that's the way to create your own instrument. And of course you can save that as well by clicking on that track. So pretty cool thing. Those are the two main instruments to work around with drum sounds. Now, I wanted to have a closer look on last thing. Let's say you have created that instrument over here. We have our sounds starting to press arm, so we want to record over here, we have three sounds. So I'm doing a record read now, just a second. Here we go. Recording just a few beats. We already talked about that. I have a midi clip right now. Marking all the things. Clicking with the right-click quantize settings are everything's fine. 16th, not everything is perfect. Velocity is fine. I will leave it as it is. But what if I think my drum sound is not fed enough and eat more kicked down there. What can I do? Well, there's a thing called layering drums, and I can open up by double-clicking on the track my instrument. Now I see, Well that's pretty cool, but I need more kids. First thing, I am looking for another kicks on that's more more fat. I don't know. Maybe this one? No, that was not what I was looking for. Let's say we want that deepen node within. So I kept load that up, let's say on C-sharp one. But now nothing changed. I only created a new track or a new sounds. But I need to go in here. I need to bring in my new, my new sounds. So let's take that off. That's a bit complicated to really work around by that. So not the best way to create a new track. So I have my kick over here now I could, I don't know, take the pen. Bring in my notes over here where my kicks our click and click and click. Now I have two kicks running. At the same time. I will undo that one more time. Without the cake. There is no low end. So bringing that in again. Oh, sorry. Sounds better. But there are two problems by doing that. One is, as you can see, we have the velocity set to level 100. It's not that natural. Second thing is let's say you have a whole track, three minutes of rums, and you need to go over it for each separate kick to double that. That's not that handy. What can I do? Well, a cool thing about drum rack is that we have that little button over here. This is a chain list. If I open that up, I can see what is happening within the instrument. And now if I click on my kick over here, then I can work around with that sound. So what does that mean? Well, I can do another thing. I can yeah, separately open up that sound. Okay. I can bring that to another node. So if I would do it like that, my kick would jump over here. So you see that that's not really, really handy. So I could bring that in here. And now I have my kick over here. This is kick a12, this is my 707. And now I have a chain together. See that? So that's pretty, pretty useful to bring it in some kind of mixer. And when you open up in the session view, you can see that mixer. See it here. This is my kid, eight or eight. This is my QC 707. Now I can bring up the volumes. I can combine those two together. Pretty useful, pretty handy by layering kick drums. In other way of bringing that, the more easy way would be open up my media setting. Clicking on the track where my 707 is. Taking the first node with a cursor and holding down Option by doing that and I bring that up. And that's copying my whole kicks section with the exact same value setting. That's pretty cool. Now I have set up everything. I have doubled my kicks. I have created a new kick track and brought it into my chain. Now I can go to the mixer, to the session view and even tweak the volume settings. That's pretty cool because sometimes I see people walking around with Ableton using immediate trig for kick drum, immediately for snare, a ketone from an additional military for additional kicked around and so on to have a mixer afterwards. You do not necessarily need that because I have the possibility to work around like that layering drum sounds by doing that. And even here I can change the setting where, let's say I wanted to bring my kick together. So this is kicked number one, this is kick number two. Now when I start playing it down, Let's move over to the, let's have a quick look here when I start playing now and at the beginning. And have a closer look on those levels settings over here. We have to kick drums. If you're not sure if you need the second you can deactivate, it. Can solo it. Pretty cool thing. Now, we could do the same on impulse, but there is no mixer. That's a bit of a problem, but no worry about that. Because the cool thing is let's say we have the same problem here. We want to record something. I need to own that instrument. I started recording metronome is on, I stopped my Click on the right track, 1234. Same thing here. Opening it up, see that it's not perfect. Command, a Quantization settings still on the 16th notes. Perfect thing. Now I have empty slots and they're shown up here. So I can do the same thing as before, going to the browser. Okay, I'm taking kick eight or eight this time, opening up the instrument, bringing in kick EDO aid, dropping it over here. Now it's a separate note as well. So I need to do the same thing as before opening up the clip. Clicking on my first kick that I created Option, hold down that node, bring it up to the section and it is copied. Now I have to kick drums running. The only problem with impulses that when I do like that, I have no mixture in the answer. Let's go to the mixer settings. As you can see, I can open up for, for drum rack. And it would show me the separate tracks that I have to set levels. Pretty cool and you can work with the facts here as well. That's why drum rack is preferred. For impulse. We cannot do that. We only can do one track. We can use only a global effects for all that sounds. If you want to tweak that, you really need to click on your samples and you need to work around here if you wanted to change levels or panning settings or things like that, That's important thing to know. But it's a very common, common thing to combine drum sounds together to make it sounds much, much better. Keep that in mind. Drum layering is very important. Oftentimes a modern productions you have like two or three different kick drums, two or three different sounds for his snare drum. And we will come to that point later on when we talk about mixing and creating things. 15. Setting up a record: Another thing that we need to have a look is how to record audio. Let's say you want to record a guitar, electric guitar, acoustic guitar, bass directly into your recording settings or a vocal via microphone. First problem is you always need a interface. Interface means you need a way to put the external instruments who computer, because normally your computer has no possibilities to directly jack into a cable or a microphone or things like that. So just inform yourself if you do not want to work with that because you only wanted to work with midi instruments. You can skip that section. If you want to work with audio, you need a US BU or a thunderbolt audio interface. There are different ways you can use it in a big version or a small version. Of course I have a studio version, but there are mobile versions as well. Normally if you're working alone, It's enough if you have one or two inputs, best way would be if you have the possibility to have combi inputs. So you can jack and a normal Jack for guitar or things like that and a microphone. And depending on what microphone you use your needs, those who have phantom power and things like that. So it's not that necessary. Of course, you can record audio as well with your built-in microphone on the computer. But of course that sounds not that good because it's more for, for speaking voice or for zooming sessions or things like that. It's not really a recording mic for, for singing voice. Another possibility would be using USB microphone. So you know that by those podcasts in people's out there, those things that you can stand, stand up on your put up on your table. Sometimes very useful. They sound much, much better for singing or recording vocals, speaking voices. Absolutely recommendation. I'm using a student microphone through a Use be in a face that goes directly to my computer. Not necessary, but those are the different ways. So please inform yourself or get the information that is needed, what you want to do. And no matter if you're just a hip hop producer or you're just recording your own lyrics because your poetry slam or things like that, there are different ways to work around with that, but the workflow is exactly the same. So no matter if you're using your built-in microphone or an external microphone, we're going through the steps right now together. First thing for setting up an audio record is we need an audio track. Now we have that over here. If not so, click on Create, insert audio track and New Audit track is created. Second thing that I would do is rename it. So this is just one audio that's very important to do that from the beginning on because the record will have the same name as here. So if I'm now recording that it will call the clip one audio take number one. But if I changed the name afterwards for the track, it won't fit. It won't take that new name over because the record has its own name for the ranging or organization within the files on your computer system. So right-click and rename, let's call it vocals. And maybe I give it a number because I know there won't be more tracks dealing with workers who I call it the vocals. Enter. Next thing I'm going to do if you're working, no, it doesn't matter what you're working with. We need to do make sure that the audio is coming in on the right way. So I'm going to the input section. Normally, this is a drop-down menu and here you can see what inputs there are. So if you're using your built-in microphone, there won't be that many options. There will just be built in microphone or 12, whatever it is cold on your system. I'm using an audio interface right now. So I have stereo tracks and I have mono tracks. And as you can see on track number one, hey, hey, there's something happening already, so I'm clicking on that and this is my incoming signal, my input. Now, third thing I need to do is setting up a click. Sorry, I click the arming that I'm, was already thinking about the click. If you have your music and everything you need, of course, to set up the click or maybe not counting in this very important, but I will decide to not use click right now. I'm just taking a listen or a recording session for some spoken word. That's it. Now you could save the setting. We'll talk about saving options later on. I'm just checking if my count in this active wealth, it is great. When I'm pressing on, the record will start and now I have to decide it's a fourth or fifth thing that you do. So first of all, creating attract, renaming the track, checking my inputs, clicking arm on the track that I wanted to record two. And now fifth thing would be to click on the bar where I want to start the recording. So now I can move over to a microphone. I'm just pressing. Our regular is running and I can say, Hello there. This is a test record. That's it. And as you can see, it worked. I have some waveform in here. And if I now press Start, I can listen to my recording. Hello there. This is a test record. Sounds nice to me and now I could work around with that. I can play around with that. I can cut things, I can stop the whole vocal or audio editing. But that's the way to create a, an audio record. And as you can see, as I said before, it has the exact same name right now it's called Volcan swan because we recorded on bogus one. If I would rename that, let's say I will call it vocals too. Sorry, wrong key. Again. Rename. Focus to it won't change the name of the recording. That's a big difference. So please have that in mind. It's so important that you always open up the exact same name before. Sorry. You really can make sure that you have the recordings in the right order and with right filenames because sometimes it's necessary to find those in your system and ****, it would be a bit complicated if there was just only audio one or track one or something like that. That's the way to record audio. Now you could do more recording, save it, or work around that. And we will of course talk about that within the next videos. 16. Editing Audio First Steps: Let's have a quick look into audio editing. What you can do now we've recorded already my, my vocals over here. Hello there. This is a test record, and now that I recorded it, there are some tweaking that I usually need to do. First thing is you can have a closer look. You can maximize that by pulling it up. Then he can see your waveform and everything that is recorded right now. And as you can see, there is a little bit of record in the beginning and in the ends that we do not need. We only need this information. Let's say that I marked right now. So how to get rid of the rest are several ways to do that. One thing is you can go to the beginning or the end of Eclipse. You can hold it down and you can pull it up or down. So pretty easy thing to just get rid of the rest of the sound because able to move only play the part of your clip debts open. That's just sending information to the track. Another way would be to make a split or a cut. So I will click in my grid over here. And now I can right-click and I see the function split or my shortcut would be Command E. Pretty useful to know that because it's very fast. Now I have, split it up. So we have one clip over here with the information that I want to get rid of, and this is my CPU clips, so I can mark that and I can just hit Backspace or Delete. And now this part of silence or unnecessary information is gone. Get to the same in the end over here. You could also mark the part that you want to get rid of and click Backspace to cut that out. Pretty useful, pretty easy. I think that's easy to learn. Another thing is if you start over here on, sometimes we have an information coming directly in the beginning of the track that hits very hard even if you're working with compressors or things like that. So you can see at the beginning and in the end, you see those little tiny pieces over here. Those are points where I can pull my fate in. And as you can see, there is little line created that is to prevent this harsh getting into sound into information. So normally that's the thing that you would do by audio editing all the time, creating little fade in and fade out parts. Another thing that we sometimes need to do, leading, prepare something for that. So I'm just copying that. Doing a split over here. And let's say I want to bring that over here. Now we have a confusing situation in here. Just zooming in because there is the cut and now it's laying over and it would sound a little bit weird. Let's give it a listen. Record. You hit that. That's the situation when you combine recording. A recording be let's say you recorded guitars and you have separate tracks and you wanted to combine them. They're not played after one another or together, then you can do a function that's called crossfade. That means I have a fade out for that clip and they fade in full that clip. But I'm not setting it like this. To really make a Fade Out Fade In. Another way to do that would be to mark those two parts, the end part in the beginning part of those clips. And then I can do a crossfade create crossfade. There's my shortcut again and now see what happens. It brings it together. So what is happening here is able to blend a part of the last clip together with the beginning of the next clip. And that brings it more smoothly from one end to another is a record. It's a bad example right now. It's really here that we will come to that later on, but that's the function to create cross clips if you need to combine clip next to the next clip, and they are not the same clip is it's not a copy paste thing if you have separate tracks. So that's very important for audio editing as well. Another thing that you could do, We already talked about cutting is cutting out silence like that par for instance, you could cut that out. But another thing is you can double-click on your track. And there are some functions jumping up as well. Now, this is a part where you can do audio quantisation. You could mark all of that. You can listen into it. You see your grids, you see the waveform. So you can have an idea if the spoken word or that work was sung or plate is perfectly on the grid. If you have a good grit fixation, you can change pitch over here. That's pretty cool. If you have a, Let's say you have a single and you wanted to change pitch. Let's give it a little try because it's so funny. Let's bring that up for 12 semi-tones that we'll talk about warping later on. It's changed a lot, but you can definitely hear that. It sounds very funny. You could bring it down as well. So I'm bringing that down to the middle. Again. This is a test. You can mark separate things. You see those little signs over here. They found the transient, that means the beginning of a node. And you can mark that by double-clicking on it, then you can take it and put it around. So those markers are very important in the end as well. And most important, let's say you have a recording that was very, very good for perfect, but it is too low. My recording is not that good because it's not that high level. You can afterwards bring up gain by using that function over here and see what happens. Can really bring up volume of deadbolt are recorded. Hello there. This is a test record. It sounds pretty good and bringing it down to 0, that's what we recorded. Hello there. This is a test. Hello there. This is a very low in level. And if I bring that up, I have a great signal. Hello there. This is a test record. Great sounding. Those other things that we usually need to do when recording things or after a record to really work around with editing things that are necessary so that we're fades, that we're cutting things to cut out the beginning and the end. We can work with those markets. We will talk about that later on. We can change pitch or even for one part, and we can change the levels that we recorded. So pretty handy with the clip function and to work within your arrangement view. So let's move on to the next thing. 17. Saving Options: Now that we've recorded midi and audio and talked about drums, drum layering and everything. Last step for you, unnormal recording situation is saving things, saving session. There are three things that I need to talk about. The main section where you do that is by clicking on File. And down here see the normal thing is safe life set. Well that's the easy way you click on that and then you can save it as it is. The next possibility is safe lives set out. That's pretty cool. For example, if you're in a songwriting process and you do versions, or you're in a mixing process and you want to in a Word, document the process. So you have mixed one, mixed two, tweaking to it, and mixed three and so on. Version a, version B and C, that's something where I would use live set S because then he can change a new version to it. The old will be kept. And you have a new version where you have all the differences to combine those twos or to compare it. Pretty cool. Same thing with safe as copy. But that could be as interesting as well if you need to copy it to an external drive just for safety options. Very, very important. Now, other saving option is collect all and safe. And that's very important because you create midi clips, you create audio clips, those samples and those things that you bring into your session are brought to the folder. So if you save your life setting, there will be a folder created. And now let's do that one more time together. Let's say we call it a safe life set as because now we worked on it, then my window will jump up. This is my, my project. Now I can create a new folder. I will call it graders song ever. Now I can call the session. This is the Ableton Live session. That's what ALS is meaning as well. A great song ever. Version, one. Now I saved it as a new version, but I created samples, I created recordings, and let's say you record it four times your vocals, and this is only one version of that, but maybe you want to go back to another recording you did before. Using your system, using a file manager thinks like that. Very important function for saving is to collect all because now this new version will take the whole samples, all information about effects, everything that are in this sessions from the first saved folder to the new saved folder. If I click on here, Ableton asked, what files do you want to collect files from elsewhere, from other projects, from other user libraries factor impacts everything. I would say yes, yes, yes, yes. Click Okay, and now it will collect everything. Sometimes it is really a little bar running because there is so much information if you have a big session. But that's to make sure that you have all the information packed into the new folder and you can start to work from here as well. So those are the saving options. Safe, normal life set safe as if you wanted to create a new version, save a copy for the fast way or for saving options on a external drive. Collect all and saved the other things. We will talk about that later on. I hope that was very helpful for you. 18. INTRO: Recording and Editing Basics - Midi: Now welcome to the midi section. Media is a very powerful tool and very useful within Ableton Live. Because just to explain what midi is, midi is just a functional things. So we have the possibility to record midi or audio. And audio is a thing that you cannot really change afterwards. So we all know that you have a microphone or a guitar and plug that into mixer or into your audio interface, start recording and when you did a mistake, you need to record it from the beginning of mainly the par that was wrong, something like that. So at the end it's more complicated. But of course the cool thing is it's pretty human. It's your thing, it's your instrumenting, your voice, whatever. But all the instruments that we can create out of the computer by using plugins or within Ableton, the tons of instruments and sounds that are there, midi is the key. So with midi, you can create instruments like piano, bass, synthesisers, and everything that you can imagine. And the cool thing is because it's not an audio track, midi is only and a command if you want to. So we have a grid in the end. And in the grid you can see a piano roll. And on the piano roll you see where in your scale or where on the keyboard you are and that you could play an instrument by using a keyboard, midi keyboard and mouse and keyboard or your digital piano over a midi interface to bring in those commands on those notes into the computer. Or you could use your mouse, your cursor to click within the grid. Or we have also a painting tool in there. I will show you that just in a second. The cool thing is if you play on a midi keyboard or on a digital piano, you will not only send the notes that are played, but you can send and you can recreate and work from there. The so-called velocity. We will talk about that in a second. That's another command with the information how hard or how, with what amount of energy you play a note. With that set, you can use a grid for the rhythmical things you can correct if you did something wrong in the rhythmic away, that's what we call quantized or quantisation. You can correct the note itself because it can just take it and bring it up or down. You can duplicate nodes. You can make a node longer or shorter. You can just play a melody and arrange a chord from there. So this is pretty powerful and useful because you can get your hands on all the little tweaking things that are within music to create a really powerful sound with the use of instruments, with an Ableton itself. That's a pro argument for the use of Ableton as your main DAW. So with that said, let's jump into the creation of midi several functions and then overview. So you know what I'm talking about and you know how to create midi tracks and start working with meeting. 19. Creating a Midi clip: Unbelievable. Hi there, just a second. If you enjoyed this course, please leave us a review and a five-star rating. We would totally loved that. Thanks a lot. So the first thing that you need to know to work with your midi is how to create a midi clip. If you are more of the guy who works with your cursor, with your mouse and wants to paint in midi information with a pen. Just go to the bar that you want to create a midi forum, double-click, and then a midi clip appears. Now, the only problem is this midi clip is very short. It's just one bar. As you can see, it's just like 1234. That's it. If you want to prolong that, that's no problem. You can set several settings over here. This is position number one within the bar and this is the length. So I could go to, let's say two, then it would be 12342234. Or you could go to for you just type in the length that you want to have it. So that would be medically for four bars. Now, one thing is important, it doesn't change directly on top, so this is still just one bar. So you could prolong that to have the midi clip down here and your editor and in your arrangement as well. And now you could take your pen and start to to create your beat, whatever you want to do. So this is the easiest way to create a midi clip if you want to start working with that. And keep in mind, if you have that little headphone button on here. You can pre listen all sounds there are no, You could start to paint your own drunk group. That's the easiest way creating a midi clip. 20. Recording Midi: If you want to record midi information, you have two options. You do not need to create a midi clip. You only need your midi track with an instrument I've uploaded a drum set already. Now first thing we need to do is you necessarily need to arm that midi track that you want to record two. So this was this button over here that must be read. So click there, and you will record media information to that track. Second thing we need to do is we click in our grid. Let's say we want to record starting with bar number five. So I need to click into my grid so it knows where to stop the recording. Third thing because we're recording is we need definitely click. We need a count. And so here it is. Count in one bar. Click is activated. Now you have two possibilities for those of you who do not have an external keyboard to play the record, you can activate your keyboard on your computer by clicking on this button, and this is a yellow. You can play with your keyboard if you need to go up or down an octave too, because you only have one octave on your keyboard. If you take the middle row of your keys, you can use the keys y and x. Y is octave down, X is octave up, so you can find the right sounds within your instruments. So now I could play the drum set by using my keyboard on the computer. Other possibility would be using a midi keyboard. So I could do the same thing here. If you have one, and the exact same thing is now I'm just working around. I have my click on, I have my track armed. I have a count in and I'm just pressing record or if you prepared that before, I have a key on the underneath that function. So if I'm pressing R on my keyboard and record will start or count and we'll start. So I can do 1234. Now I can record whatever is coming in. A clip is created and I can open up the clip, see what are recorded as well. I can hear pre-lesson those things. I see how long my truck is. Those were two bars and now I can work around that, I can tweak around that and I can do other stuff. So that's the way to record midi within Ableton Live. 21. Midi Overdub: Let's say you recorded a drum groove, but you are not finished yet because you cannot play all those notes at the same time. So no problem. There is a pretty cool feature within Ableton as well. So I only recorded with two fingers, my kick and snare, and it sounds like that. Okay, you still hear the click running. Now, I need a hi-hat. Well, how can I do that? Do I need to create a new clip and new track? We don't know, pretty easy. I'm first of all taken a look where my head is. So let's say I wanted to use this height over here. I have an overdub function. So if you have opened up to your info view over here, go with your cursor to this little plus on top of that says midi arrangement overdub. So if this is active, you can start your record again with the beginning of the clip and do an overdub. The rest of the information you already recorded when stay and the new information will be recorded into the exact same clip at the same time. So let's do that. I'm pressing R for record. I'm starting at the beginning and I'm just playing the highest. That's the whole clip. And as you can see, this is my new recording, this is my overdub. The rest is still the same. Okay. Let's do it another time. Let's say we wanted to bring in this zone. This zone is cool, so same thing. Start from the beginning, pluses active for overdubbing. Here we go. Here we are. This is our bass sound that are recorded. So you can create really complex things without being able to play that at the same time. Another way to use that is sometimes if you have a short keyboard and you want to arrange a piano parts so you do not have 88 keys to play that long node. You do not want to change octet while you're playing. You can do that afterwards by using this overdub function. Pretty useful. Overdubbing within immediately. 22. Quantizing Midi: So now that we've recorded our overdubs within this midi clip, you may be kin here and see that my highlight and my bass sounds are not really in time. Have a closer listen. You can hear that it's not really moving smooth and find an SP wanted. Well, there is a cool function to get rid of that because as you can see, for instance, within my hi-hat, there is a big problem. This is my grid and this is denotes, it's not really that point. Now I can take each node and put it in the right position, bring it to the beat that I wanted to have. But that's really hard, especially if you have a whole track and there are some tweaking is needed for having a right and good groove. So what can I do about that? Well, no problem. You can do it separately for separate notes or you can do it for all nodes. You can use a function that's called quantisation, very important for media use. Now, all those high notes are not really on the grids, so I'm mark those. As you can see, they are enlightened right now. I will make it a big bitter. So you see where the bad spots are, where the notes are really not on the grid. Now, with a right-click, I can open up my functions. And here you see quantize and quantize settings. I would prefer to click quantize settings because here can see the nodes length that I'm using to quantize these midi information. If you open that up, you can use the current grid size. You can do quarter notes, eighth notes, eighth with a triplet, 16th note 16th with a triplet, and so on and so on. In most cases I will recommend 16th notes because if you take a too high resolution note, length, it will, in a way, delete your groove and you have to undo it again and to go to the next, the next note length to make it more comfortable. So I would take 16th notes. That's very common and very useful. You can change the amount it does. So if you bring that down to a 50%, it will not 100% fit the next point, but if you are around 100%, it will now when I click OK, be able to bring all the notes to the next 16th in the grid. So let's have a look and clicking OK right now. See what happens. Notes, notes or 16th notes right now and are definitely on the grid. Now take a listen. Pretty cool function now everything is in the right place. Everything is fine. So I will undo that for a second just to show you something. Now it's wrong again or with a human feel. Let's say we only want to bring those two nodes perfectly to the grid are almost to the bid. Of course, you can just mark two notes. Click Quantize Settings 16th, I talked about that. Now let's say we just wanted to bring it 50% it up there. See it's not that perfect fitting. It's nearer to the node. So you can play around with that as well. If you just want to quantize separate notes within your setting. Very important, very good to, to create perfect groovy parts and to have a perfect timing if necessary. 23. Using Grooves: Now that we created the midi clip, everything is quantized. I have another function that I want to talk about. Well, it is the function groups. Let's say this is our beat. Pretty standard beats are no real problem. Then you have two parts where the function groove kicks in. It is over here. You can see it here. Now if you click on that, you can open up our groups. See that it is a section within your browser. You can pre-lesson the groups that had fullness active. Now you can bring that groove to that four to record it. That's a pretty crazy future because first of all, it's not really understandable. But you have that feeling. Now, let's see what happens. I'm taking that shaker right now. It's more like a 123123123. And if I want to bring that onto my drum groove, just little short reminder, drunk Roseanne, I'd like that very straight. Now I want to bring that shaker thing to my groups. Now I will commit the groups or see what happens. I load that up and now, sorry, take that. Commit the groove. Bomba shaker, groove. Here that it combines the idea of the groove to that what we recorded. And the cool thing is we can swap that swapping means, if I'm not that happy with what I've chosen right now, I can go on that button. I can take another groups and I say other was not what I was looking for. Let's say I want to have that track, so I've taken that, dropping it onto my clip. Now let's give it a listen. Maybe that's a better idea. I don't know. We're not that sure. Let's take something very confusing. That's a good idea. Maybe we try to bring that in, bringing that into my group section here. And let's play it back. You can swing from the, the other things. So let's give it a try. We have three in our row. What does that happen? Differently? You see, that's the way you can work around with groups. You can use it by that. This is a group pool in the end, or you could do the other way round. So first of all, let me delete all of those groups here. Of course, that change because the group is useful, I'm quantizing it again. Maybe you've seen that velocity changes are made as well. That's pretty cool because it not only takes the beat from the groove, it takes the velocity values as well. So that would be one way to work around over here. So you take a groove by clicking that Swap button. If you want to put that into your song, you can put it into your groups over here. You can put it over here, or you can drop it onto the track. Those other ways. Another way would be to go via browser. So I am in my midi control section here, my midi editor. Now I'm going to grooves. Now I can swap those, listened to those and I can exactly the same. Put them over here. My groove pool will open up and I can start working with that. Using those to really bring more liveliness into that. What is happening in my dorm room, pretty cool feature and in a way outstanding as well. And if you have a closer look, there's so many groups that you can use by any genre, Rock, Swing, jazz, hip hop, disco, everything That's pretty, pretty handy, especially for those of you who used their keyboard from the computer. So you have that trouble with the velocity values because as I said before, you will get a new groove and you will get a new field. Another way to work around just chat that said as well, you can take those those parts as well. You can drop it directly into Ableton, into your arrangement. It has the feel and the velocity. Only problem is you do not necessarily get many different instruments. So that two ways to work with groups who can directly drop those into your arrangement. But then it depends what midi information is behind that, but you have the groove in the velocity parts. So one thing could be, I could work around with that as well. So those are just kicks. But if I would say, this is my snare, I have the feeling of the clip. That could be very fast, very fast way to get a typical Toronto Congress sound that they worked with in 16th to get a feeling and a human feeling into your drum grooves. Or you just take the groups and put it on that board you played in to make it more natural, very cool feature groups. 24. INTRO: Recording and Editing Basics - Audio: About that base style database, no traveled homolog. Bob has his bow, their banks now travel. Balhae, snow travel. I'm all about that Odeo, Odeo, Odeo, Odeo, Odeo. In this section we're gonna talk about audio and the basic ways of creating audio. Difference to midi is audio is a thing that you record from external sources like your microphone or you use a jag and go into an audio interface or digital mixer. At the end, you won't have a midi commands in a grid, but you will have audio in a grid. And there are several things that you need to know about levels, about the way obligates into your DAW, into Ableton Live itself. And of course, some tweaking and some, some things that you can use to edit audio because there is a lot of things to do after you record, like setting fades, having an eye on the beginning and the ending of your audio. On the level of the audio pitch is something that's important. Rhythm is something that's important. Quantization is something that could be important for you, and so on and so on. So with that said, let's get started and half are introducing to audio and the whole world behind it. 25. Creating Audio Clip: Do you enjoy working with this course so far? If so, please leave us a review and a five-star rating. Thanks a lot. Now how can I create an audio? Well, that's very important if you want to create an audio, first thing you need to do is to create an audio track. I have already uploaded two more here, but I want to show that very quickly. There are two ways you can create. Click on, create an insert, an audio track, or you can use this shortcut. So either you're clicking or you're just going over here pressing Command T and a new track will appear. And as we talked already, please name that track so the recording goes to the right position. So that could be right-click rename or Command R to rename this section. So I will do with a shortcut and say vocals. Enter. The difference to media is we cannot create a clip by clicking in here, you can just say I can, I don't know, arrange a setting. Let's say we wanted to record by beginning by barn number 17. I wanted to record until here or something like that. You can mark that part of something like that. But you cannot create an empty audio track because everything within audio is recorded. How to record and how to set up for record. We will see within the next video. 26. Recording Audio track: If you want to start the recording, some new or some, some different things unnecessarily. First thing is we need a audio track. We already created that. If you are not sure how to do that, click on Create, insert audio track, or use the shortcut Command and t. Now, we would recommend to rename it that mood mean if this is your new track you want to record to click with the right-click, go to Rename or Command R. And let's say we want to record some of some vocals. Let's call it vocals and maybe give it a number because maybe they won't. There will be more tracks with vocals on it. So enter. Now we have the right name. Next thing we need to do is check on our input. If you are using your built-in microphone or whatever, that should open up within this drop-down menu. So please choose your item that you are recording width in my system, I have lots of inputs and now I want to take truck number one that's coming in and you see there is still something going on. My microphone is active, so now I have to write input. Most important thing is that you set this button over here that should be red because able to needs to know where your recording is going to, what track you use. So if you would stop recording right now and you would have activated this one, then you would not record on the right track and it would go to distract number four. No big problem, but it could be a problem if you override things that are on track number four, so please make sure that you, um, the track that you want to record you. Last thing that we should have an eye on is our clinic. Maybe you use click within the recording or not. But we need a count in so that we know where to jump into our recording. This would mean one bar, two bars, four bars. So I would leave it like that. And let's say we wanted to start at bar 17. So I click into my grid. So those are the things that I need to prepare. And now I can start my recording by clicking record or using the key function iron. Recorded with the key are. So I'm clicking on it, counting, we'll start and I can start recording. Hello, This is a little test for this recording function. Now as you can see, we've recorded an audio track. That's the way it works. 27. Recording second Audio track: Now let's say you have recorded your first track on this track, vocals number one, and you have an idea for another vocal that should be combined with that. No problem. All you need to have is another audit track. We have that already here. Same things. First, right-click or shortcut for renaming it. I would call it vocals to checking on the inputs there. Is IT problem because input number two, so I switched it to number one because I need my microphone again. Dangerous thing. Keep that in mind going over here. And what I didn't mentioned before, you can see that it's coming into that track right now when it's odd, see that if I click that off, there's nothing happening. If I click it in, I can see that there's signal coming in. Now I want to record a second vocals. So let's say it's on track on bar 17 as well. So I'm clicking into the rich have right starting point. Pressing R Again to do my record. This is the second voice that I'm recording encoding function. Now you see we have two tracks, one per track, and we can combine those two. Let's have a listen to it and it will be a bit confusing, I guess hallucis, this second formula instead I'm recording, recording function. Pretty cool now we have blended those two together. That's what would be happening for all the audits that you're recording, no matter what instrument you use. Of course, you will be maybe wrapping or singing, but that's the way where you can do your ad lips for wrappers. You could do your doubles for wrappers or for singers. You can do second, third, fourth, voices as a singer of recording acquire all that works exactly the same. 28. Trimming Audio: Now that we've recorded audio, Let's have a look on our recordings and as you can see, it's not very loud. I will turn off track number four just for a second. This is a little tests regarding good recording, but it is not that loud. So now you have two possibilities. We can bring up the level of our track, but we can do something we call trimming. Trimming means if you have an input signal that's coming in too loud or too low, you can fix that after the recording and just need a double-click on my clip. Now that opens up where have all the information about my clip. And now I can bring up the game within the clip just by using this fader or dial in new numbers. And you can see it has an effect on my arrangement view as well. Now let's say I would bring that up for 12 db. Now let's give it a listen. Hello, This is a little test for this recording function. Great thing, That's what we call trimming. So if you have a signal that was too harsh or you have something that you need to bring up because it was just line level or there was a mistake while recording. Usually you would try to get as good as a recording as necessary. That could be one function, but another thing where we oftentimes use trimming is, let us say this part is good and its volume, but this part is too low and we do not want to bring up everything because that would mean that this part is too high in level in the end. So I can go in here, make a split function here, split function over there. Now I can double-click on that, that easy section that I want to get louder. Now I only have that part and I can bring that up. Let's say 12 db. That's pretty cool to rearrange dynamic settings within your recordings. That's called trimming to work around with those functions. 29. Quantizing Audio: Another function we already talked about when we talked about midi is quantisation, and you can do the exact same thing within audio as well. Pretty cool feature. So let's say we have a timing problem because we weren't really in time when we were talking, when we were singing. All you need to do is open up the clip by double-clicking it, the editing window appear. Now, you see those little markers over here. Those are just signs wherever and tells you this is a transient there. I have some information that is more outstanding. I think this is a new note. So this is our timing reference with enabled life. Well, you can double-click on those to set a market and then you can start to tweak that around. You can bring it further back. You can work with the grid as well. So you can see, am I in time or maybe that transient should be on 1.14. Then you could say, if you only wanted to change that, no problem. Double-click on the next marker and then I can bring it on the right position and you can go through, we can say that's not really in pitched. Do two markers. I just wanted to bring that back. Just that note right on the grid, on the two. So using grid, using those markets to get a perfect timing, to rearrange that. But there is another function as well. You can, as we did with midi, mark all the information or just a part of the information. But what will happen is, you can right-click in here and you can already do quantisation as well. So same thing here, Quantize Settings. Let's say it's the same as with the midi tracks or with a drum track. I decided to take a 16th because that's the lowest group that I need. I can dial in my amount. I am using 100% right now. It will bring all the nodes within your singing or within your audio that will get a marker by Ableton itself, those little white triangles you see on top there to the next 16th note within the grid, see what happens. Now, created all to yellow markers and everything switched back to the position. And now if you want to control it, you can see where able to put a marker denote is almost perfectly sitting in the grid within 16th notes. So pretty useful thing to quantize audio as well. Very important. 30. Fades: Next thing we need, oftentimes while working with vocal editing or audio editing is fates. There are different fates, three types of faith. We have fade in, fade out, and a so-called crossfade. Now, let's have a look. When do we need fade ends? Well, there are two ways to do that. The first thing is you need to know where to find those. This is our clip that we want to work on. And when you go to the ending or to the beginning, you see those little, little dots appearing. You can grab those and pull it in the direction of what it does is not that when clip begins its harsh directly into Apple, into sound, into everything would be very necessary if we would come from here and you would use a compressor or limited because then the moment we have atmosphere on the back of the truck because there is still the room. There is maybe some sound there is and there is tool silence. So we come from tools highlands. The clip begins, we have like a little moment where it jumps in. That's a point where we sometimes or I would recommend to do that every time I would set a fade-in. Another way to work with fade ins is if you want to have that node, not **** as it is. If you want to have a real fate and then a kid can take it long and it will bring in the, the volume hello, this is here. Hello, this is yes, that is a difference. Those are the two ways to use fade-in, same with a fade-out. We have an ending. So if you do not want to have app onto the end and cut it off, we use a little fade out to buy that. Or you can do a volume fade out with a longer thing. Let's say you have a guitar chord and you want to bring that out. And I would take a long fade out to create that Pretty cool thing. Crossfade is something specific that's moved to this part because we cut it out one part of the setting. It sounds pretty easy, said I'm recording. Now Let's say we want to duplicate this part. Now it sounds pretty crazy. Instead I, instead I, instead I instead I'm, you have that harsh beginning that I instead I instead I'm said I'm if we want to have a bit more smooth than we can create a CrossFit between the ending of this clip, the beginning of that clip, you can decide how long that should go. So I will mark a few, a few parts of my grid. Now I click over here to say create crossfade. See that? Now it brings these two together. Let's give it a listen. Instead I, instead I, instead I'm here. The difference. Instead I, instead I'm here where there is no crossfade. We have this kicking in transient as harsh where I put the crossfade is very smooth. Instead I instead I'm here, does it? I answered, I answered, I answered, big difference. So cross fades almost the most necessary thing when you combine two recordings together. When you bring them together, clip by clip, especially when editing vocals, when you take vocal tracts of vocal recordings from different takes. And he wanted to combine those cross fades are so important and so good to your sound, especially when we start to work with effects in yen. So cross fades, fade in and fade out. Very important thing. 31. Cutting: Another very important thing is the different cutting options. We have separate ones. Let's say we want to get rid of this part because we do not need it. We want to decide some, some other things. There are two ways to do that. One is you need to use the split function and the other is the use of cutting function. For a situation like that, I will prefer the cutting function, meaning you just mark the part that you want to erase. Doing the right-click, you can get the inflammation cut, meaning command and X. It will cut out the section directly. See that pretty useful if you want to get rid of separate information parts or whole pods. Other way would be cutting or splitting the clip. So that's why we call it split function. The shortcut is Command E, or you could do with right-click as well. So we would go into the grid over here. Click Command E. We have a split, go to the other part, clicking the grid command E. Now we cut that out. That's sometimes very useful if you need that as a new clip. So I could take that right now, put it over here. I could copy it. I can rearrange it. If I did not want it over here, I wanted it over here because it would sound better or whatever. Those are the possibilities that you could use when you use the split function or the cutting functions. So different functions, cat function means I'm cutting it out. It's for a section. Spread function is if you want to split a existing clip into two or more parts, those are the functions we need for cutting things or cutting things out. 32. Warp Function, Time-Stretching, Reverse, Pitch: Another pretty cool feature with an audio editing is the warp function. So if, let's say we take this clip, we cut it out already. Sorry. Just a little double-click. And then you get into this section over here. And that's a pretty, pretty powerful section because you have already recorded it with 120 bpm. It is said here. But let's say you want to change temple then is Ableton a pretty, pretty good feature because with his whopping function, if it is active, it knows this clip was recorded at a BPM by 120. If you want to rearrange it and you want to go to 100, it will calculate how it should sound already to go over there for that, we have different functions. We have a bead function, tone, texture, pitch, Complex and Complex Pro. We will talk about those separately in a separate video setting. But it's a pretty cool feature to have in mind that you still can change tempo, although it is an audio. But there are other functions that are pretty, pretty cool. And that is a new function where we can work around with that. That's this divided per two, or walk around with two pretty cool feature. That's in a way as to do with time stretching things and other things. So what can we do with that? Well, we can say this is our clip. We want to work with that and it sounds just a second. We sold that for a second. It sounds like that tech voice, sec voice, sec voice, sec voice. Well, let's take this one. It sounds in better voice, voiced void, void. If I would click on this button, the following thing will happen. Brings the section into shorter amount of time. Pretty cool feature. Let's bring it back again. The other thing around, double time, falsetto, falsetto. Take that out so we can prolong it. Now I have a very long you can play around with things like that. Pretty cool. And you see the BPM changed already. So that's the thing that you can work with. Pretty awesome, Pretty cool. Yeah, in a way, really work around with that. Another feature that's pretty cool is if you do a right-click on the loop section or on that clip, you can reverse the clip. That's pretty cool as well. Let's have a look. Just bring that back to the normal function. So that was our original track. Void. Void. Void. If you would reverses voice, the word is voice. If you want to reverse it sometimes for modern music and it's pretty cool feature, it turns around the signal now it sounds like this. Without reverse voice. Voice. Now with reverse, again, it's just right-click on the track. You need to mark the clip, reverse clip. It turns around the whole information. It's a pretty cool feature for remixes, for new sounds, for crazy sounds, pretty cool. So this is a very, very key feature we will talk about warp later on. You have all the information over here. You can change the warp settings. Warp is the thing that makes it possible for you to divide it. We make it faster, will record a double time or halftime the part pretty cool feature. Those adjusts processing things so you can use this Roman high IQ feature. We will talk about that later on to save your computer power in a way. And this reverse feature is new and enabled in life Eleven in older versions it was within the warp setting as well. Now it's over here when you use your mouse or you just activate the clip or click on it. And then you have this reverse clip setting over here. Pretty cool feature warping. You need that. 33. Sample Library: Of course, Ableton is a very powerful tool for electronic music producers are hip hop producers. So many of you, or even if you are creating movie stuff or scores of many of you will like to work with samples. Now sampling is just a big word that you need within the production settings. So samples are the things that we dropped into instruments in music enabled live. We have a instrument that's called sampler, so you can drop samples in there, but that's not really what I'm talking about. Samples or samples could be loops as well. Ableton has a whole section for that. So the two ways to work with samples or loops, and I want to show you the first of those. If you want to know if you're using Ableton Live 11 as a skewed version, what samples there are, you just go into your browser and there you can find the part where it's called samples. That's a pretty cool thing because those are really sample sounds. So listen. This is just a kick drum sounds. You can listen those as well. Scratches. There are two ways to work with those samples. One could be the idea of creating. Yeah, just, just to beat. So let's say we wanted to take this kick drum. I take the first one as it is over here. So pre-lesson. Cool. Now, you can put that into an instrument or you can drag it as it is an audio directly onto your audio track. I would say, okay, this is my kick track. It takes the name. Now, let's have a look. This is my kick. This is a way hip hop producers, for instance, worked in the early days. You could take this kick sound and just put it on 13. Then you can create a beat by that. See that, that's one way to work with samples. Pretty cool thing. The other way to work with samples or delete edges for a second would be to open up an instrument to work with that. So let's say I could take, we talked already about that. I could take a drum rack. I take my sample, the kick drum. I put that online drum rack. Now it's loaded. I can play it within the instrument. Same thing we work with an instrument called the sampler. Of course you can put it there. You can go to the samples. And that's a pretty cool thing because now I can take one of those sounds here, dragons and to my sampler and now I can play it with my keyboard. So even on your computer, activate keys. It is one sample and it's used by that instruments. So that's why we can use samples as well, but you could do the same as before. You can take that sample and drag it into an audio track and work around with audio. So I cannot really point out what is the best way to use it, but you have lots of samples in your libraries. So many simple sounds, single sounds, pretty cool thing to use a sampling. We will talk about that later on, or drum beats. We have a section that called, That's called clips as well. This would be the same workaround so you can load up a clip as a sample or a loop as well. So let's say we wanted to have this whole drunk groove. We can take that, put it on a track, sorry, now it makes an immediate track out there. It loads up an instrument and I have a whole Baden. Can take different other clips. Pre-listening it. Maybe I would take this one. You can create new music by doing that. So that will be like this. Very funny thing to work around. Using samples is just one shot of an instrument, of a sound. You can use that within an instrument. Or you can use those clips. Pretty cool thing for all of those of you who liked to work around with those samples loaded into Ableton Live shoot. 34. Importing Samples: Another way to work with samples is a very traditional way. Most hip hop producers did it all the time. You have your own samples. There are sample libraries on the internet. You will maybe have your own field recordings and you want to bring that into your session now, how can you do that? Well, there are two ways. Normally samples are audio files, so we need an audio track. We have one here. Let's say we create a new name, rename it, let's say, called sample course. Now, there are two ways to bring in information into your own. You can import things. That's one way you could do it. By creating it. You can import midi file for instance, but that's not what we're looking for right now. The easiest way for us would be to use the browser and create a new folder where we take that from. I would do it the other way around. I would open up a finder. In Maya. I'm going to the, to the folder where my sound is. And now I have set that Just a second. I'm just going to the folder that I created for my samples. Some over here. Here I have 23 sounds that I want to take into my session. So it's pretty easy just doing it directly. I'm taking my scratches, holding it down, bring it into my session just a second. So there I have it. Let's say for bar 17, just drop it in here. Ableton would start to calculate it. It would start to warp it if necessary. So if you do a double-click, you see it is warped and cool thing over here. It will calculate how fast the sample is. So you can start to calculate around, you can start to stretch it as well to bring it into the temple that you need. Now I have imported this sample. Let's do another one and going back to my folder. Now let's say I want to take this and you can pre, listen as well. This is a synthesized the grade I want to have that as well. So bring that on the next tract. This is an audio track. So same thing here, Double-click. It says this is a temple by 69, something around that. So I can warp it. In here. It already is warp to the temple that we have set globally for our session. And that's a pretty cool feature. So no matter if you have rhythmic samples of Eclipse or non-written mixing, you can directly import those into your session and through the warp function it will calculate how fast it should quantize that. That's the way to bring that in. Don't forget to save afterwards because then don't forget to collect everything. But that's way if you want to bring in your own samples, two samples out of a sample library website from the internet thinks that you record it in another session. In another situation, there are many ways to work with your samples from other parts. 35. What are clips (Midi or Audio): We already talked about samples. And I pointed out that samples usually are like one shot, one sound, one beat, some more for a sampler to really play that sound. Little different. Eclipse already just mentioned those for a short period of time. Clips are what you can create with enabled an or you have prepared clips and a bunch of clips over here. As you can see, so many clips and they're from different genres. So oftentimes we have some information within the name watery could be or what tempo it has. Here's one was a tempo. You can pre listen those. Some of those are midi clips and some of those are audio clips. But it's not really a problem because you can simply just drag and drop those into your session. So if you are having a look for a drum loop, for instance, that is a drum loop. You can pre listen it, we talked about it. Now you can just take that, drop it onto any of those tracks or drop it down here and it will be a new track created. So this is an audio, Let's drop it on an audit track. We already have that. And of course, it will fit to your global tempo. See, normally it was like that. Very slow. Now I dragged it in and it sounds like this. Because we have 160 BPM. That's one thing for audio loops, but you have other loops as well. So something like that for instance, or something like that. Or in my opinion, it's a bit more complicated to work with clips because sometimes you haven't information like over here where it says It's an F sharp. So you can, in a way decide does it fit together? Drum loops are not really a problem. That's just a style question. But if you use tonal things that sometimes a bit complicated because you need to bring them together. But we have features for that as well because as we talked about it, you can double-click on the clip. So let's say we have this. It is an F-sharp double-click and you can change the pitch as well. So it sounds like this. Let's say we are in G. So I need to bring it up by working with a pitch, for instance, now, because I am Angie, I can take a baseline as well because I can read this as injury. So let's give it a try. Whatever sound like, hey, basis that low. That could work. So that's a way to work around with that. But as I said before, we have some other clips in here as well where it's using midi, so no problem, just drop them in. They will work directly and you have lots, lots, lots of sounds that you can use. But it's at all times a full clip with lots of information, style grew, tempo, everything in it. But able to do the rest of the work. Sometimes you need a little tweaking. That's the way to work with clips. 36. Combining clips & Samples: Sorry to interrupt you, but maybe you could take your time and if you liked this course and you want to tell others how good it is, maybe you could leave us a little review and the five-star rating. Thank you for your time. The cool thing about that situation with clips and samples is, of course you can combine those now. I've loaded those, those tracks already uploaded samples. Those are only samples, but I can go to my sorry, clips. I can go to my samples folder. Normally an icon as I've shown before, take them as an instrument and combine that. So for instance, I take my sampler on this midi track number one, go to my folder. Samples. I'm taking, I don't know. Not in another bass. String sounds over here. Now I could play together with my, with my case. Activated. Could work. Not always work or you need to find a melody or something like that. And you can of course, just take your, your clip sounds in there as well. So let's say I need another kick and just bring that in. Now I can start to work with that like we have another kick. Let's duplicate that on the two, on three, on four, on one. Just holding down the option key to do that. Just to mention it again, 234. We have another kick in there so you can combine samples. You can copy samples and do a new clip. By that, That's what sometimes people do, or you can use the clips and combine that together. And that's both fitting to create new music by using that. And I want to imagine it again. Of course, all of those clips can be worked out again so you can double-click on it. The editing window is opening up. You can use the warp function. You can play around with a double time or halftime function. You can repeat it, you can regain it or trim it. All those those settings are possible within the use of clips and samples. At the same time. 37. INTRO: Midi instruments: One of the most powerful tools within Ableton Live 11 is the section with the media instruments there, so many instruments. And if you are already enabled in the user, it's definitely worth the upgrade to version 11 because they're even more instruments in there right now. Of course, I could, I could just create a course where we only talk about those instruments in detail, but we decided to bring in even more information. So you really are able to work not only with the immediate instruments, but you can really create a whole song after you walked through the steps within this course. But it's absolutely worth to take the time to really talk about all the instruments step-by-step. So we thought for a long period, how should we do that? And we decided to do it the best way, in my opinion possible. We created a video per instruments so you can walk through the whole regions, the whole instruments that are packed within Ableton Live 11 suit. You really have a, an overview how it works, what it looks like, and some little functions are explained there as well. I'm I'm sorry to say that we cannot have our hands on each function because the possibilities with others, synthesized instruments are so, so, so many that you could, I don't know, create a whole course just for one instrument if you really want to dig deep into it. And on the other hand, my opinion, sometimes it's very good to really work with the presets that are there to stop there and not from scratch. And of course, if you found your favorite instruments, because me for myself, I have some of those instruments that I use more often than others. You will get better by using, by using the presets and half your hands yourself on the instruments. Let's get started and have a look at all the instruments or the midi instruments that come with Ableton Live 11 suit. Here we go. 38. Folder: Sounds: So let's have a look at the first function within our midi instruments settings. When you open up the browser, first thing that you see within the categories is the folder, sorry, sounds, sounds is pretty cool because you do not necessarily see the instruments. You see all the sound settings. There are all groups or categories. So if you are looking for an ambient sound in bass sounds, exotic or mallets, or percussive sounds or whatever. You get an idea of what could be within that category and then you can just open their category up. You have that little headphone button down here and you can pre-lesson your sounds to find the right base that you're looking for. And there's so many because they are summed up together within that section sounds if you want to use one of those, no problem. You just take the instrument, drag it onto your midi clip, and the right instrument will open up. And sometimes you do not even know what instrument is used, but you have the right sound. Pretty cool feature that's new to Ableton in this version and I really love it because it's so handy and so nice. Dealing with a point overview that you do not necessarily need to go to an instrument first. Pretty cool thing. 39. Folder: Drums: Same thing as with the Sounds folder is with the drums folder. That's in a specific thing because he's able to put together all the drum sounds there are. And if you click on that folder and the categories within your browser, you will find a lot of drum kits that are totally finished, so you can listen to it to get an idea of what sounds are loaded up there. And if you find that useful, just drag and drop that kid onto your set. A drum rack will open up and you have the kids playable and you can directly activate your keyboard. Go to the right section, and start to play that. That set. Pretty cool. But you'll find a lot more because on top of that, you have a new category called drum hits. And that's cool because it sums up all the samples you have. So you have categories like wood, Tom sounds, tampering sounds, snare sounds, shakers, kicks, high heads, whatever you need within percussive and drum sounds. And now you could open up those, and those are only samples so you can listen, those can use them as sampled. So I'm just importing that simple sound into my session and have my sound over here. Or I can create my own drum rack. So then I would just start by doing a drum rack, loading it, it's empty going to my drum hits. And now I'm going to have a look for a kick drum, taken, a kick drum load that up, go to a snare, load, a snare sound up, and so on and so on. Now, you can do that wherever you want to, to create your own drum set. By that using this folder, using doubt those categories to bring your own drum kit together by using the folder or the category drums. 40. Analog: Differentiate and denominator. Now, we talked about those folders and let's have a look at the midi instruments themselves. So if you go to your browser, we talked already about sounds and you have all the sounds in groups or categories. You have to drum sounds separately. And now let's move over to the next category. They will be instruments. And there you can see the instruments that come along with Ableton suits in that case. So each of those is not a category, it's the name of the instruments. On the first instrument we want to look at is the instrument analogue synthesisers. So there are two ways to have a look at that. Let's first of all loaded up coo thing to show. I have a drum rack already here. Now if I drop analog on that middle section, it will override the drum brakes so it will load up totally new. And this is the bears synthesisers. What do we have? We have two acidities, oscillate a one and oscillator to. If you are not that used to working with synthesisers, there's no problem most of those things, and I mean that totally honest. Our just trial and error. So just click on different settings, turn the knobs, and just feel free to get into the sound because it's a simple synthesis. That's why it's called a synthesizer. And analog is a pretty easy synthesized because it's very down to earth, very basic. So you have like, let's say two sounds in engines. You have a third for noise, so you can bring in more or less noise within a color grading, you have volume in the ends, you have an app setting for the two sections, a filter setting for two sections. There you have different things like low passes and band-pass has notches. Those are filters that you can use. Usually you have some, let's call it automization. Sorry, automized. The things that you can use within a synthesizer. That will be the LFO one or two, that you have a sample rate, you have a rhythmic value that we bring in chaos into your sounds and other waveform. And you have different waveforms that are turning the sound, the basic sounds that comes into the synthesizer, into different sounds. And that's the, the big thing about synthesis. So pretty easy. And if you turn that instrument on and you start playing it with a keyboard or whenever you have a simple synthesized that you can tweak it around. So bringing noise. See what happens. This is a typical synthesizer or let's have a look on the LFO. You can bring in different sounds in here you see the waveforms changing. Sometimes you hear it directly, sometimes not directly. It depends on what you're doing. So those are all the tweaking things we could go through it, instrument, the instrument. But the cool thing is, this is the main function. So you can start by tweaking your instrument by yourself. And it's the same as always. If you have found your sound tweaked around all those things, you can save your setting, your instrument to your presets folder. So if I click on here, it goes to user library, goes into instruments, Pat and analog, and there you can create a new instrument within that setting. That's the deal about that. Just jumping back to our instrument where we analog. The other thing that you could use if you are new to synthesisers, if you're not quite sure what you can do is you want to learn something if you want to see differences. Of course, there are many presets to this synthesizer analogue. That's when you open up that folder and then you see again, categories, just categories within this center sizes. So all those instruments, all those presets over here. We'll load up the instrument analog with the same synthesis that you have in here. But it is, it is already saved as a preset to use for you. So this is the idea and you can have a quick look. What is it you see it's not that much and you can pre listen it. Typical analog string sounds or typical bass sounds like this. Typical sounds. Very analog sound, typical sounds, lo-fi base. There are lots of basis in here, lots of other sounds to find. You have brass sounds, you have Pat sounds. Very, very cool instrument to go to. I would say it's a very AT sounding analog synthesizer, easy to use and a definite recommendation to get into synthesisers from the beginning on. 41. Collision: The next instrument is collision. Same thing here. You can first of all take it, drop it onto your media channel, and it will open up and you will see it looks a bit different than before. It's a synthesizer as well. So you have a resonator in here. That's where you can place your sound. You can play the, the room meanness, it's called decay. You have a second resonate that you can bring in if you want to activate it, click on this button over here. This is your LFO. So here's where synthesized synthesizer sound kicks in. You can tweak the waveform that you're using by clicking on those things, you can create an offset and you can work with two LFOs at the same time. Pretty cool thing you have an idea for midi mapping. So if you want to use your midi controller and you want to map several functions over here. You can do that by using this section. This is the malate. Malate means like the instrument method. So you bring in the attack of the sound, and here you have the noise. It's different parameters as well and you can bring in that sounds. So if you start playing that More percussive, bringing in the second resonator. That's more synthesis, synthesized sound. This is your LFO. You can bring another one in. You can turn that around to bring that in a GAN and you can work with volumes. Of course, you have this inherent button that's pretty interesting. That that's a typical function within collision. And you can, of course tweak the amount of ballot sound that you have in here. So this is depending on the volume knob in stiffness to the direct attack that you have until the noise it brings. You could walk around with that. You can save your settings by clicking on the Save button. No problem your presets. Same thing as with analog. He can open up your folders and there you can have listened to what collision could do for you. So this would be, for instance, ambient sounds. Take a pre-lesson. Rhythmic stuff. Pretty cool, or you could do some, of course, malate sounds. Pretty cool, pretty experimental, but you have pianos and keys as well. For instance, E Piano, toy piano with the bell sounds, sounds pretty, pretty nice. So there are different options. Use collision, it's small, the malate way, experimental sounds, cinematic sounds you could create over here or crazy spaces or alien sounds, something like that. That would be my recommendation where to use collision. 42. Drum Rack: Our next million instrument is the drum rack. We already talked about that when we talked about creating midi drums. So same thing here. I still have collision loaded up. No problem. Opening up the drum rack will override collision, and it's just an empty midi space where we can load up drum sounds. So one possibility would be to load up that rack. Then you can go to your drums folder to drum hits, and then you can fill up your own drum rack by loading up sounds. So taking the kick drum on buttons C1, taking a snare on button, D1, for instance, bringing a high head. Listen to that. That's okay too. This button. And now you have created your tiny drum brake with three sounds. But what it does, It's pretty cool because on one hand you have a mixer. We see those three sounds are loaded up. And if you go to Session View, that means within your drums, drum rack, you have three separate tracks where you can change levels. You can load up effects, which is pretty handy for multichannel instruments like drums are. So that's pretty cool and pretty amazing. So you have like your own rum mixed on your own drum group within it. You can load up the your separate attracts. You can set levels over here as well. You can walk around with assemble that's loaded up. So there's some funny the SM, some funny workarounds that you could use over here. You can use a gauge, you can use it as a snapshot. You can change gains already here for the sample, you load it up. You have an LFO as well. So if you want to change the sounds, you could use that as well. You can decide where to fade into the sounds. If you want to tweak that are fade out how long it is, you can transpose the sounds. And you can do that for each separate sample that is loaded up. Pretty cool thing. Of course, you can save your drum rack. Same way the others are solvable. It's a pretty good too ready to work on your own drum style, your own drum sounds, or of course, you could load up other sounds are samples as well. But let's move to another thing. I will delete that just for a second. Of course, if you load up drum rack via instruments, you go down here and you have some drum racks here as well. So they're not that many because we have most of them. Those kids over here within our drum section. So I usually I never low drum rig out of the instruments because there are so many. Yeah, totally finished kids with amazing sounds in my category folder drums, but it could work. And if you are looking for your drum rack, you just load that up. The other way would be using drums itself. But run rake is my recommendation for drum sounds, especially if you want to load many different sounds, many different articulations, different hi-hats, different snare sounds for your bead. That's my first go-to instrument for drum sounds. 43. Drum Synth: Another pretty cool and easy instrument is drum synth. That's not that complicated. You only have those instruments and there's nothing in there folders. And this will load up a single shot. That's pretty cool. So let's start with this one. Drag it onto your midi. And there you have just one sound and you can play around with that. The cool thing is, no matter where you hit the keys, so it's the same sounds, so it's really a single sound. You can tweak it a bit, but it's so simple. So that would be recommendations to say, let's load up one sound, load up another sound like doing a kick over here. Then you have to kick sound over here. Let's activate the keys again. That's my kick. Now I could do more instruments like a snare sounds. Bring that up for a second. So this will be my snare. That's the idea problem is you cannot load it on one track because it's one instrument, it will override the other thing. That would be a very fast idea if you want to bring that for, let's say, four or five midi tracks, you load up those little tiny instruments just to create a first idea, too. Making short record because it's, it's okay with its sample. It's not the best sounding samples that there are. It's a fast way, although you can do little tweaks around here. What is pretty cool if you load up the sampler out of here or out of the strong sinth. It is empty. And that's a good idea. So there is nothing in there. You can load up samples for that. So let's say you take, I don't know. Can we could even load a sample like that? It's a pretty easy sampler so you can work around with it. It can work tonal as well. That's pretty cool. But that's all there is to say about the drum synth. That's pretty easy for little short ideas. And if you need to have a quick solution. 44. Electric: Now let's have a look at the instrument, electric. You know how it works. We take a midi track. Let's take this first video track over here, loading up the instrument. And as you can see, this has something to do with a hammer. So this would bring, the instrument sounds more like a keyboard dish instruments. So the basic for that synthesis should be a piano. Now you can work with those things. You can find Adjust each part of the hammer from the piano. You can work out the stiffness, something like attack and the noise it makes. Then you have the other parts of the damper and fork to work around that sounds. So that's pretty cool. For electric piano sounds or the rest of the sounds. Pretty, pretty easy, pretty cool thing. Little parameters to work around. An easy instrument and same as before. We can open that up and see, okay, there is a little less going on. There's no base, no strings or something like that. You have more percussive things. Pad sounds melt it sounds so let's give it a listen. Now if you're wondering, where did they get that delay off, we'll talk about that just in a second. But if I load up that complete instrument, you see it looks a bit different. If I open that up. You see the instrument rack, you see them, the metal heads, that's the instrument electric built into an instrument rack. And we will come to that later on because you see that over here in that wreck, you see a lot of things going on. We have lots of different effects and things going on there. So it's not only the instrument, it's a combination. But you could start by loading up. It will kill that just for a second. But just loading up the instrument, bringing in other things like instrument rag and the facts and media effects and so on and so on. But the basis by the electric is this part and we have different instruments or pianos. I'm sorry to pre hearing. This is a typical section for pianos, EPA anos, Oregon, where many, many, many cools sounds are over here when you lose, when you use electric for the first time, enjoy that. 45. Impulse: Just to have that set, I'm skipping external instrument because there's nothing going on over here. And if you start learning, it is just empty. That could be used if you would, for instance, load up a external synthesiser will play that in bringing other instruments. Normally, I do not use that because there are different ways to bring in. Third party plugins are instruments. Now, that's why we directly started talking about them palsy. You've already seen that if you had to look at how to create drums, because I use that oftentimes for creating my drum kits. Because this is a, you could call it a sampler, a trigger sampler. So you can load up samples in those fields over here, but that could be everything. You could load up drum sounds by using the category drums going to appear to drum hits, load up the kick drum, snare drum. I've shown that already, but he could load up samples as well. So you could do a hired over here. This sound over here, the sound over here. So that's pretty good if you need trigger shots, if you need different sounds while you're in a live situation in live session. Pretty cool instrument to work around with that, but same as before. Going back to the instruments, you have a downdraft here. There is not that many. This is just some drum sounds we have. For instance, they adopted lay That's not a drum sound. It's more like a path using gram sounds. So as I said before, it's pretty often used for drum grooves, drum sounds, and there aren't just a little instruments that you can load up directly over here. So this, for instance, same as I said before. If you load that up, It's totally loaded up with instruments. You can tweak them a bit, but not with a synthesizer in there. You can just add some drive at some saturation at a little filter that you could use for FIR filter moving. So optimizations. But that's it in a way. So pretty cool tool for drum sounds, for drum samples that you want to load up quickly and pretty cool in use because instead of a drum rack where you use black and white keys and sometimes for people in others used to play the keyboard, the black keys are harder to play because they're not that big in size. So that's a situation where impulses even better because those fields over here are only wide keys. And that's the cool thing about impulse because you have like one to eight sounds. So that means it's like one octave of white keys, one next to the other. You load up, your sounds. Can feel free how you load them up. And it's pretty easy and you can change those instruments. So say if you do not like this high head, that's no problem. You can hot swap it again. They could be a little click over here and then you see different sounds and you can change them pretty easy, just bringing them in, just double-click and then they, they started jump over here. You can make the undo that again. Pretty cool thing to yes, which sounds very fast within eight complete instrument using impulse. 46. Instrument Rack: I'll next instrument is not really immediate instrument, it's an instrument rack and if you load that up, you will see what is happening because it's totally empty, but you can read, drop an instrument or sample here. So this is where you can stop tweaking instruments together with effects, no matter if audio effects on midi effects. If you put that together to a rack, you can save the whole IT setup with everything that's in there too, a rack, you can give it a name and you can reload it for another session or for your favorite sound preset, whatever you want to do. There are two ways to use that. One is you open up an instrument, wreck. You put in an instrument. Now I have an instrument in here. Now you need an audio effect or just take randomly something that I can find, let's say this one. Bring it into your req. It's behind that. Now, let's load up another effect. Maybe this one. You can minimize them by double-clicking. That's pretty cool. And you have a mixture in here. See that? So I see this is my analog. I could load up different things as well. And that's the way to create macros. So if you want to have a macro, that's pretty cool. You could say, for instance, this is my octet. Now I want to bring that to macro number one. Now you have a macro that's controlling your octet and the instrument that you could do that with all the things. So maybe let's say you want to have this NOP to macro, then you can map the two macro number two. Now this is high gain and it's working together with that thing in the back. This is pretty cool because you can create your custom instrument by that. Very nice, very easy. And you have eight macros that you can create. If you need more, you can create new macros, No problem or variations by that, you can save that as snapshots. That's what is happening over here. And, but I really liked the idea to create your own presets by using more than one instrument. So that's very, very amazing. There is another way to save different settings for, especially if you're using audio effects in the answer, there is no instrument rack needed. But this is the way if you have an instrument and you want to save the instrument with these specific effects, Shane effects setting and you want to use macros because the cool thing is in the end, I can minimize all of that. I can take away that that the only thing that I see when I load up my instrument Wreck are my macros and I can tweak that. Very, very easy to rearrange the sound. Or I can midi map those knobs to my midi controller to do some filter tweaking while I'm recording. Pretty cool tool. Really impressive. Now let's have a quick overview about the instrument Rex. There are, there are many categories, as you can see, there are many, many, many instruments. And as you can see right here, it is some of the main parts about the midi instruments enabled and life control. Most of the instruments are not only the synthesized IR itself. Most of the time you create instruments for x because you need directly for your instrument, the instrument itself. But some effects on top of which reverb delay, Dr. modulation compressor, and so on and so on. So maybe for all of you beginners out there, or all of those who are looking for specific sounds, go directly to the instrument rack because here you can almost find everything except the drum sounds there. And they'll their own species in a way. But here you can find all different kinds of instruments brought together with effects. So you will definitely find sounds to use for your bead, for your track, for your composition. 47. Operator: Our next meeting instrument is operator. Same thing here. Let's load it up and have a look. It's a classical, more Moog synthesizer if you do not know a lot about synthesized and maybe just have a look on the classics. Because we have four different sound engines. This is like a, B, C, D. Each one has its own job to do. You can tweak those step-by-step. As you can see over here, you have separate knobs. You can fix it, you have a separate levels. If you change the setting, you can work with an envelope filter that's working in here in the oscillator. So pretty cool thing to work with. You have an LFO as well. Filter by 12 steps are 24 steps. You have a time signature, you have a pitch envelope if you want to use that, and so on and so on. So same thing over here, you can work with that. Let's bring it up. Can take sound parts away. You can work with those. Doesn't work a lot. Pretty cool instrument for midi control knobs. So you can work with that live. Just a little summary. You could bring that with a midi mapping to midi notes on your controller and work from outside the software, or as I did right now, use the keyboard and your mouse to do that. Pretty cool. You have different functions over here. The difference, straight. Now bringing in Lynn rate. This is a real analog, old-school synthesized. You can, I don't know, spent whole weekend just on those knobs and working around. But of course we will have a closer look on specific sounds. As you can see, there are many categories. Typically we have Synth Lead sounds in here. Let's give it a listen or something like that. Very basic science. Dr. lead pad. All that sweeps sounds, buzzing sounds. So there's a lot of stuff for techno house electrode, but also for alien alike sounds pretty cool, pretty cool tool. You'll find some crazy guitarists as well. You'll find some crazy bass sounds as well. And please have in mind, It's always depending on the instrument, rack itself, what you're using. But operator is something that I would go to for more Pet Sounds, synthesized and lead sounds because it's very old-school, very cool, very cutting. So pretty cool synthesizer. 48. Sampler: A pretty cool instrument and one of my favorites is the sampler instrument. Let's load that up the same way. And as you can see, sampler is totally empty. What is the cool thing about sampler? Well, you could load up samples you did by yourself like a voice recording that you did. Or you could do. You could work with samples. And the cool thing is if you have a, let's say we have a look for cuz sound some, something like that. Now you can load up the sample in there. If you hold down a key will play the whole sample itself, but you can as well play the instrument. That's pretty cool. If you load up a sample, no matter if it's a long sampler, a short sample, you can start to walk around with that. Of course, you can cut out a specific node. Let's say we want to play this note. You can mark that part and then you can start playing it. Pretty, pretty, pretty cool thing and you can twitch it as well. So if you go over here, start that thing up, you can start one oscillator, an envelope filter. You can change the sound by yourself. For instance, bringing in new wave. See that pretty, pretty easy, pretty, pretty simple. If you want to work around that, you have modulation in here, you have filter and many, many, many things that you can work with. This is the sample part, the most important part that you can do reverse things, can use it as a snapshot. So it's just one node. You have different settings called the sustain mode and the release mode. So another instrument where they can work around lots of the times, what many people nowadays do is they load up their own vocals to bring the ad is this typical artificial melody sounds. So if you take, for instance, a vocal sounds, let me have a quick look. I'm looking for a vocal sounds. That's perfect. So bring that in. Now. We can walk around with that. And you all know those sounds by the modern music like all the DJs are doing. That's pretty Cooney even can you produce your own sounds? So if you have your own vocals, you can load them up into the plant. The best thing about the sampler is you can play chords by that. You only have to be careful how long that sample is, but there's no property you can zoom in. You can really cut out one good note that you like. So let's say we just want to have that first node over here. Now I can play it like a melody are pretty, pretty awesome, pretty cool. And that's a specific thing about the sampler that you can play chords by doing that. Pretty cool if you're not sure what notes you have, there is a cool thing. I just want to mention that quickly. If you go to Utilities under audio effects, you have a tuner in here. Sorry, I need to, first of all take that away. This tuners. So that's pretty awesome. You can load that up and if you play a note, you can see what note it is. So that would be an, although it's wrong, the wrong key, then you could start tweaking that in the answer. You could just know that all you could pitch shifted if you want to. That's very handy, very useful to really know where you are. So just a little hint, the Audio Effects utility tuner to know where you are. But sampler, I absolutely love that instrument because you can bring in all human styles, all audio settings to your keyboard and play it like an instrument. Amazing. 49. Simpler: Almost the same instrument as a sampler is the simpler as the names already telling. So let's load that up. You see it's the same thing that you have a one-shot setting, slides setting, and a classic setting. And that's a bit of a difference because you can load up samples here as well. So drop that in. Pick out. I don't know a long node for instance. Then you can play that. Use the tuner as well. It's a bit worse when you want to play chords. Does not work that good as within the sampler. But cool is that you can load up a one-shot trek out of here. It really hear the difference. And if we go to one shot prepared for using that single node out there, the slice function is interesting as well. It does not work at all. So I'm going back to the beginning and you see it creates those slices over here, those two markets. That's a way to work around here normally. So let's bring it up a bit. Then we can start working around. Come on. Now it's working. That's the idea behind that. So pretty cool thing to really deform your settings, deform you plug the specific sounds you can work with vocal sounds as well because you can upload everything in here. And of course there are some sounds ranged already for you. You see there are many categories. So if you go there, you have sounds. Let's load up on sounds so you can see how that looks. You have your sample in here, It's the most classic and there you are. So if you start playing, you can see what is happening over here. Everything's pre-arranged. That sounds using good samples. And that's in a way pretty amazing because they prepared so many sounds for effects, for brass, for bass sounds, maybe let's load up a base to see how that looks. It's really based on multi-sample. So that's when they loaded up many, many, many samples in a row. But you really can work with those samples at the same time. So it's a very good produced instrument using lots of samples to work around that, to create a most realistic sound for that synthesized a base, for instance, a cool instrument, very nice sounds. Little reminder that place you can find all the sounds within the settings sounds so you need not necessarily goes to four the instrument. So the way I work is usually I load up a drum rack. If I wanted to fill it, load up impulse if I want to fill it up. Sometimes alone up an instrument rack where when I know I want to build a new instrument, but most of the time, and of course I'm loading up a sampler if I know that I'm using samples that I created by myself, but most of the time I'm using the sounds directly from here, but that's just another workaround. So that would be my recommendation about simpler, pretty cool tool to work and play around with samples. 50. Tension: The next instrument it says synthesized as well. It is tension and we open up the instrument by dropping it onto our track. And that's pretty cool because it is a synthesisers well, but you can choose different things out of strings settings, as you can see over here, it's called strings. So it's more like a string instrument and you can decide how the string is hits or plate. You have the possibility to let it sounds like played with a bow, with a hammer, with a hammer balancing or a plectrum. Then you can tweak that samples that are used for that with velocity, the key position, stiffness velocity, everything like that. And then you can see down here the ratio parts and everything is changing. You can add or take away the vibrato. You can add a body like a piano body, guitar body violent bodies. So you can build all string instruments within tension. Same thing here. You can do it by yourself. That would be pluck sound. It sounds a bit like a guitar. You could play around with that a bit different. Something going on. You have a filter section as well that you could use playing around with all these LFOs and envelopes and things like that. But the main idea is to create string sounds like all kinds of violence. Cello, string ensemble and guitars, piano sounds as well. So pretty cool thing. And we can see that when we open up the track, you see we have basis in here. For especially upright bass is pretty cool. We have some effects. Of course, we have lots of guitars and hue. That's pretty cool and some of those are really nice sounding. If you do not have a guitar by yourself, you cannot record a real guitar. Pretty cool thing. Methods, but not that many, because as we already have seen, electric is pretty much more close to malate sounds. We have paths. We have pianos because there's pretty cool because we can use the hammer as well like with an, a piano. And you have strings and some strings here is synthesized. The keys. Pretty cool instrument for all pat sounds, for all classic sounds as you might need for your composition. 51. Wavetable: Now let's have a look at our last instrument in the row, it's wave table. And wave table is really amazing. It came with an update and not that long ago, but it's a very I think it was able to attend something around that. And it was a game changer because it's so cool-looking first of all, and it's so great and sounds. So let's open that up. Then we see it's a, a bit different. We have an oscillator, a second oscillator, we have a mode over here where you can choose between m envelope filters, LFO filters. So with that instrumental can do almost everything that you can imagine. You have basic shapes, you have crazy shapes and so many of those, you can load those up, listened to those you have tweaking around here. We can take different sounds or beginnings. You can add a sub sound at all times. You can work with different filter settings that you can bring onto your sound in one part and the second part as well, where you can adjust the frequency like a high-pass or low-pass frequency, and then you can add those ending things like the mod sources, the matrix. Pretty cool features. So let's give it a listening basic stuff. So there's just a sign us up here. The difference. Pretty cool. Now I can start to tweak that. It's so basic, so easy to work with that you can hear the difference directly. I can start to work around with that basic distortion. For instance. Many, many, many opportunities go into the other oscillators. It's the same, you need to activate it, then you can bring in another sound as well. See that. So maybe bringing in other cells. You have two sounds combined, and so on and so on. So this is very complicated. I, I've spent hours on that instrument because it's so packed with cool stuff, cool things about, of course they have brought width wave tables, so many presets, as you can see, ambience, synthesisers, so many bass synth and cool sounding things. And I like the lead synthesizes a lot because if you go in here and so fat, It's so great. This is this that those techno, techno sounds pretty cool. If you're looking for a typical synthesizer and you want to make it as big as possible. Wave table is the best synthesized, in my opinion, for real Synth Lead sounds since rhythmic sounds, since Pat sounds in a way my go-to if I directly want to have a synthesisers, that's the job wave table does. Best grade, grade sounding instrument. 52. Summary: So just to make that clear and to sum up the last few videos in just one shirt, we have 12 instruments in Ableton Live suit itself. Furthermore, you can go to the Ableton website. You can download some packs. I have some installed here already. You see there are some not on my system anymore, but I could refresh those. You can do your updates over here. And so you can get hands-on so many things, especially if you bought the suit version of Ableton. So only working with Ableton stuff is pretty cool and pretty amazing. And that was one thing when I decided what DAW to use, why I went for one of the arguments. But of course, there are not only those 12 instruments. If you want to work as fast as possible, if you want to learn as much as possible how to use Ableton for your music. And it depends on the way because the sounds with enabled and are really great for pop music, for electronic music, for EDM, for techno, for depth step, for some specific parts. Even for hip hop, many people use that. You have 12 instruments and you need to know where can I find what sounds? So please take your time. Maybe do not move on right now. So start to play around with those instruments. Gets used to loading them up, get used to load a preset, get used to change presets from time to time to work around with that hotspot thing. Tweak your instruments and save your own instrument presets to get used to that, because you will be much quicker when you are used to that. And there is another thing. Of course, you can integrate external instruments or third-party instruments. For instance, there are instruments, software instrument factors like native instruments or soft tube or I don't know. Of course you can buy more sounds. Each one of those factors is specific in what they are doing or leading in a specific style of music and the producing of their software instruments and sampling is really, yeah, it's, it's, it's kind of a kind of art kind of work they're doing there. So you can use the sounds that come along with Ableton, especially in the suit. But you need to know where to find what and you know, it needs to know how to tweak the instruments to really get as close to what you're looking for. Especially these 80 sounds is synthesizers sounds, these electric sound settings are really great and amazing. And of course, you can integrate other instruments from third parties into able to pretty easy via plugins. If you have instruments, you can find those over here in plugins. You can load them up the exact same way. I will show that just one. So I have Native Instruments running here. Let's say I want to load up another synthesized. It's the same thing. It will show up as a instrument within plug-ins. Now I can drop that on my midi channel. Would take a bit longer because there's a third-party instrument. It's the same though it's just looking different, but I can also do the same surf I can work with. It's synthesizer. I am armed on the track. It took over the name of the instrument for the track because I didn't do anything and I can play that by my keyboard or by my internal, external keyboard. That's pretty easy. So of course you have no problem to bring in other instruments as well. If you have those as VST or auditory units, no problem to work around with that. Feel free. If you have any questions, no problem, reach out to us, we try to answer those as good as possible. The last thing I need to save for that is have fun with the loads of instruments you can find in the end loads of sound, sounds. And maybe that was what happened to me when I started working with Ableton. It's very inspiring from the beginning on. So when you start to play around with those instruments, always keep in mind to record what you do. Because sometimes we would get great ideas for new songs and new little melodies, or if so, have fun. 53. INTRO: Midi- and Audio-FX: In the next few videos, we're going to have a look on the audio effects and media effects that come together with Ableton. Of course, each DAW has a lot of on-board effects already packed in. And with Ableton, it's the same, but in my opinion, there are far more effects to use. And the cool thing is you can use the audio effects for the midi tracks as well. So there is no real difference, but the section media effects is a bit outstanding because Ableton is such a powerful tool for media use and the use of midi instruments. So it makes absolute sense to use those midi effects that are a bit special within your DAW, to create rhythmic things, to create crazy sounds, to take the most out of your midi information. To create cool tracks. We will do it the exact same way as within a section about midi instruments. We will show you the most important audio facts. We will talk about the groups there are. So you have a great overview when you go through that step-by-step or if you have any question, just jumped to the video where your names are dropped from the facts that you are looking for. To have a little hands-on video where you can get an introduction to the sound, what it does, what group you can find the effect In that you're looking for some basic functions. And of course, afterwards within the course we will have a mixing section at the end, some songs as examples. So you will definitely learn how to use those audio and midi effects within a real session, but this will be in another section. So now let's just get an introduction and a warm welcome to all the audio effects, midi effects that are important for you and your work. 54. Midi FX: Arpeggiator: I already getting better and better at mixing and working with able to live. I absolutely hope so. And if you do so, please leave us a review and a five-star rating. That would be absolutely appreciate it. Thanks. Now the first group of effects are the midi effects. And one-off of this group is the arpeggiator. That's pretty easy to demonstrate because I have simply uploaded on our midi track over here a grand piano. Now let's say you want to have it moving down the Apigee operator is your idea. You have separate presets here as well. But let's start from the beginning. You put the effect directly onto your immediate track. Just drop it here. It always will load, especially the arpeggiator in front of your instrument because this should affect the midi to go into the instrument. So if you would load up audio effects, it will be the other way round. Now the cool thing is if I'm now playing, There's nothing really happening. I can do a CT or I can play the melody. Pretty easy. Now, if you have the arpeggiator, it will add With make things perfectly to that sound. So see, I'm just holding down one node and it starts to play by the rate that has dialed in. If I do that with more notes, it will play a chord. Pretty cool thing and you can work around with that as well. So you can change the rates, you can change the transpose, so you have a little shift in there. It sounds more realistic. That's a cool thing to have a pageviews played by the computer itself. Let's do it one more time. So let's say we want to have another rate in here and 16th notes will be. You can create more steps. Pretty cool thing. So that was the full size, is just staying within its idea. Pretty, pretty easy thing, pretty easy to use. That's the arpeggiator. You can use that for single notes. So if you, for instance, you want to have a base, you want to play it in perfect 16, so you just hit one note, hold that node and here Pj's doing the job. Or if you want to have arpeggios played within your code. Of course you can do the same thing with media as well. So if you create your minute trek, we talked about that. You create a node within your sample. See the work's already, Let's say I'm doing a long note. Sorry, wrong direction. Creating more nodes. Then you create long Node. Work as well. So you are absolutely free and using the arpeggiator, very common effect. 55. Midi FX: Chords: The next midi effect I want to talk about is the effect chord. I have a midi clip already prepared. It's playing a piano and it is, when I open it up, it's a single node settings. There's only one node per node. Let's give it a listen. Now, chord is a pretty creative too, because let's say I only have those single notes or I am not really a keyboard player and I'm not really good at programming my chords by myself or I use, I'm looking for new sounds. Then I open up this section and I have crazy cards already over here. If you load up one of that presets, Let's start with a major seven chord. It will automatically turn my single notes into major seven chords and listen to that can be very, very interesting and it even has more courts. So that's called Jess for dummies. Let's keep that one and listen. Sounds pretty jazzy. What this does is you have your sound, you have your single nodes, and it turns each node into a chord by using those three presets over here, that's called shift 123. There you have semi-tones that you can type in by yourself. And that brings the core and you even can do a fourth, fifth, sixth note on top of that. So pretty cool to work around new chords. You could cut those chords out. Of course, you can change your melody, note or the single node that you already produced in here. So that's for the lazy ones for those who are looking for creative, inspirational ideas for new chord sounds offer those who cannot play chords by themselves. Pretty cool, pretty easy. The effect cord. 56. Midi FX: Midi Effect Rack: Another midi effect that we need to talk about is not really a effect, it's in effect rack and we already talked about that a lot when we talked about the instruments. So here you can create separate things in a row. You can load that up onto your tracks. I will do the run now. It is empty as well and you can bring in different media effects in here. But the cool thing is in the way I use it. If you have a sound that it's boring, you need something specific. Then you can go into these crazy settings in here because you have some cool and crazy stuff already running. For instance, in Petra called Autobahn. Let's give it a try. Pretty cool. You can bring your own stuff in here, delays and everything that you have. But this is pretty cool because it's so inspiring to work with those Apache versions, echo versions. We have, even then we have some utilities in here. So for instance, we have a keys and scales utilities. So that's pretty cool because here you have different keys directly. So this is the major key. Now it shows you where in C you are. And if we go to minor, would get another information, Dorian and other information. So it will give you different sounds that you need to use. And you could map those. It's not only to utilize things, it's pretty inspiring to use media factoring. And please keep in mind, if you want to do that, you can upload your empty media effect rack, put in, echoes, things out of the envelopes of the course, a PGA pitch and so on and so on. To bring in your own stuff. Pretty cool thing, pretty amazing. 57. Midi FX: Scale: Of course, there are many more midi effects, but some of those are just monitoring or note length or random. So you have lots of tools that you can easy. Starts by it. Yeah, The, the exact way that I already have shown, so you just load it up, bring it onto your track, and then you can start to work with that. So it's pretty easy, pretty cool, but one is a bit outstanding and that's the effect scale. Same thing here, we loaded up by dropping it on our track. And that's pretty cool. Now I can see you have this figures out here. So the base would be C. You can now work around with that. You can bring it to other nodes, and that's pretty cool. Now we have already a melody and see. The cool thing is, what scale does is it calculates in what key your notes are already. So let's say you have a melody and you want to bring that to another key, but you're not quite sure how that works. Scale can help you. Now, I'm going to do right now. What it does is, first of all, nothing because the notes fit already. You could switch the melody over here by the base. You can switch the points over here. So you can take new nodes. Now you see what starts working. It changes the notes. Although I didn't change my midi clip, because I'm changing the scale that I'm using now I'm not really using a major scale anymore. Now if you drop down this menu, you see there are many crazy scales in here like cold, like mixolydian mode, phrygian dominance and so on and so on, Locrian mode and things like that. That's pretty cool because let's say this would be my melody. Sorry, first of all, I have to delete that. Although it's just long notes, but it's definitely in see those notes. I'll just like C, G, a, and F. You can see that over here. Now that will be kept. But if I choose, let's say the Dorian sharp four. Drop that onto my system. You see they're a little tweaking in your scale and now it will change your melody without you doing anything. See, there's just one difference. We can make it even worth. Worse. Let's go to what do we have? Free and dominant is a bit more interesting. Interesting, isn't it? You can bring a melody to a new sound and you have specific things like, I don't know why it was that doing half, whole diminished as interesting as well. So let's upload that just to give it a listening. Interesting as well, or this melody. It's a very, very, very little example because it's not a really complicated melody. But I think the idea is clear. If you have a melody and you want to bring in some new things or you have the idea. My melodies are always the same. I need some new ideas. Scale can be very helpful with that. Just create your melody by using midi and bring scale in there. And as you can see, you have so many ways to go to an even can do your own custom style things. So pretty cool, pretty amazing. And a good idea to work around if you need inspiration by using midi effects, the easy way. 58. Audio FX: Delay & Loop: Our first group of audio effects is the group delay. So let's move over to Audio Effects and I have a new session opened up. We have a midi piano running over here, and we have a vocal sample down here. So let's first of all listen to this. That's it. I'll vocal sample sounds like this. Together. It's not that perfect song, It's not that perfect plate. It's not a big production that perfect to show the different effects. And we started with our group delay in Luke, cool thing enabled in life 11 is that we have more of a folder sections for our audio effects as well. Before that we have the alphabetic order and now we have groups. I think that's pretty handy for a quick workflow. So you just go to Audio Effects and then you have the first group delay loop. And if you open that up, you see different things that you can work. The standards would be delay or echo. We have a filter delay, grain delay. We have some looping functions, and so on. So it depends what you're using. So you cannot pre, listen to it because it's an effect, but you can try it out. So easiest way would be to drop it onto the instrument and give it a listen. This is called insect. It's a very fast delay with a filter, so an automatic filter of thing. So you can go through over here, but the idea is always the same. If you need a delay is simple thing you can do it like with the with immediate effects. Just take that, drop it onto the track. And the cool thing is, although this is a midi track, you can use audio effects as well. That's why we can't find those effects within the midi effects because we do not need to groups within here because most of these audio effects can affect the audio that's coming out of your midi instrument as well. So delay is pretty easy. You have a simple delay. You have a left and right side for left speaking, right speaker. You can choose a number of time. That is the idea. When the delay kicks in, feedback means how long you can listen to the delay and then you can make differences. So this would mean left and right as the same. If you click on that, you can choose different numbers for the left and right side. Dry wet is a thing you will find always this means how much of the effect goes directly onto the sound or how much of the original you will hear at the same time. That's the idea behind delay. Let's give it a listen here that full effect, without effect. And it's as simple as that. You can load up different instruments. You can go over here and see that there are some things prepared so clean delays that you have. Like, like timing notes in their eighth notes and quarter note and things like that. You have Amen spaces. They usually have some something like a high burden of Panorama lap and a lot, right? So maybe give that a listen. It's not that big of a deal. But it can help you to bring a sound to the left or to the right. You have some crazy sounds in here. Vintage delay is pretty cool because that's working a bit different is another parameter. Come on. You can only upload those things because they're vintage sounds. So it looks the same, the same setting, but it's for vintage old school sounds. So this is just a delay section. Of course you have different sounds as well, like the echo effect looks a bit different. Looking like this. I can see that here, but the idea is the same. You have ambient space, you have cleaned delays, modulator delays, and vintage delays. So it's more vintage oriented, but you can use it for vocals or for old sounding rooms like you want to have a vintage record, maybe you could do it and use it like a tape simulation. You'll find things here as well, long tape or his tape mode. So this is pretty interesting. Maybe just give it a listen. It takes more away your own sounds within all the stuff. So that's the difference in here. And it It sounds longer. Now filter delay is a bit different. Let's talk about that quickly. If you load that up, you can see that it has three filters or three parts. So we have four left for ride for left and right. You can activate or deactivate those. You can bring them into specific regions, then it will sound more modern because you can, for instance, takeaway the low-end and just make a delay in the high frequencies. That's more of a modern sound and not, not like using a tape delay, for instance, would be a modern thing. Very interesting. Grain delay is a bit different as well. We have more of a grid and the grid you can bring in pitch changes, you can bring feedback changes. And you have some kind of synthesized going on. So that's more like a disturbing or destroying sounds and looper as well, like repeating phrases or reversing phrases by using a delay. So if you take one-bar phrase, put it on here. If we wait for one bar, you can use this part over here. So I would start it like that. Recording and progress. Then he stopped pressing play. Now, you can work around with that, maybe using this part. So then you could start recording. Now I have a loop of that and can start working around with that. You can work with that, you can quantize it, you can control it in a way. You can speed it up and down, could be very useful as well. So it's like a looper. I do not use that often because you have a loop of within the session view. So that's not that interesting for me, but there are several situations where you can use it not so often within a production because you do not really need a looping within a production. Same thing here. Spectrum time means you have like harder effects like, for instance, freezer fading. That's a really hard effect, using delay to destroy the sound or what's, what's really going on or what's played. So these are the possibilities are many, many, many delays. The most common delays that you will need, our delay itself, echo and filter delay, because those are modern delays, normal delays or was called simple delay in the beginnings of Ableton, an echo is more like a tape delay or vintage delay, but very cool sounding if you are after those vintage sounds. So let's move on to the next Effects section. 59. Audio FX: Drive & Color: Our next audio effects section is the drive and color setting. That's the name is good chosen I would say because we have from Dr. sections for guitars, you can see you have amps, cabinets for everything where you want to play a guitar over. We have overdrive, we have paddles. So that's more for the guitar section. So that's, and not just for your guitar that you could play into Ableton. It's also useful for the instruments that you have here. So if you take a guitar, let's say clean guitar. And you want to have a distorted guitar. You can run the king guitar using an instrument rack through an EM section, through the cabinet, using an overdrive or a specific parallel to really work with the guitar. Or you can do the same thing when you only have a electric guitar at home and you're not able to record the whole amplifier or you do not even have an amplifier. You can record the audio from your electric guitar and put em cabinet and overdrive and paddle onto that. Another way to use a drive or color, It's more color is especially for the drum bus. There are some effects that you can use to bring in a bit more booming or compression or crispiness, or to have a punchy sound or a distorted sound to mix it with the original drum set. That's things you often use an indie music or rock music to bring in more dirt into the sound or more warmth into the sound. And for that we have a saturated setting as well, or vinyl distortion. That's the emulation or simulation of vintage sound of tape recording, tape running and doing things, adding additional overtones to you, to your recording. I oftentimes do that for my vocals as well, using a return and a send to use an overdrive or a vinyl distortion to bring in a bit dirt into your sounds that it's not too clean. And of course you can distort all synthesizers or other instruments as well. Saturated as well. The idea of bringing more saturation to the sounds. Reductase is a bit specific there you have things like destroying your sounds. So let's give a listen to some of those sounds. We take our vocal sample right now and let's start a loop over here. And I will stop playing and just open up some of those sounds. So let's start with a dynamic tube. For instance. Warm tube. Switched it off for a second. Maybe you can hear the difference already. That's warm tube. You can use in broken tube, for instance. Turn it off. That's real distortion. You can hear that. Let's turn to distortion gate. Not that harsh, but you get the idea that's more like dynamic. Now if you really want to crack it up, you could use a erosion that could. Let's try it. Try this one, for example. It's bringing in noise. Sounds not that good alone, but in the mixer can work perfectly. Or just imagine another instrument like a guitar or something like that. You could use the reductase as well. So let's try this one. As an instrument. Setting. Sounds like an old telephone sound or something like that. You really can crank it up by using those sounds, or you can do it vintage. So let's give it a try with a piano to make a, an old-school piano sounds. Let's use the saturated that take the bit warmer section. Bringing in in color. With a bit tweaking, it gets a little less harsh. See the difference. That could be an idea to work with those saturating idea. Yeah, that's in a way it, we will work on different songs within this course. So there will be lots of examples where we work with Dr and color as well. That's first of all it with the drive and color section. 60. Audio FX: Dynamics: Let's talk about the dynamics section. This is where it can find your compressors, gates, limiters. What are those things doing? Well, the name dynamics is pretty good if you have a record, no matter if it's a midi or an audio, you have different dynamics settings, you have different velocities within the media instruments and compressors are working with their dynamics, so they bring it together, they glue it together. It's the first go-to thing when you want to bring the attack of an instrument up. So there could be a guitar, could be a base, that definitely could be everything that's percussive, like drums and percussion instruments. That can be a vocal that needs to be more in front for wrapped vocals. So when you want to have that aggressive sound and you want to bring it up to foreign. So everybody is the feeling that the singer of vocalist standing right in front of your face. That's what compressors are doing. Gates working the opposite around gates kick in when you have a sound that's coming over a calculated or definite value, that's useful if you have drum recordings, for instance, or you have an instrument where there is a noise that you want to get rid of. Let's say you have made a record and there is a little tiny his sound on the recording, but it's very low in level. And you do not want to destroy the rest of your vocal recording that you did, then you can use a gate to calculate the value that you need. Your Volcker's to come over than the gate turns off and you vocal kicks in. But all the time you vocalist, not active, you do not have anything going on and it's suppressing the his sound. Same with the drums. Because for instance, if you record in RAM set and you have one track for the kick drum, of course, the microphone records the rest of the drum set as well. Now imagine you have eight microphones, means a time, the whole set. And what you really want to have is the one moment when your instrument kicks in. So the kick drum or the snare drum. Now that's the part where gates are used oftentimes because then you can push away the low-level instruments or the rest of the set. And the gate turns off if the kick or the heat of the sound that you're looking for kicks in. That's the idea for Gates. Glue compressors are like group compressors. That's what you usually use if you have a whole drum sets or 8-tracks, want to glue them together, or you have like a group of guitars, group of vocals. You would use a glue compressor or on your master section. So it's a mastering compressor as well. Limiter. Limiter is a bit more complicated. It's like a ceiling. So if you are mixing things or you have very high level, very loud levels, then you can create a ceiling to in a way prevent the track to get into the clipping. You can say, you cannot get louder than 0 dB. That's what limiters do. The opposite round again to have a ceiling for your sound. And they can bring up the difference in-between what is pushed away and bring that up again. So you have like not so much of a dynamic sound in the end. And that's very interesting for limiting the whole music, the whole track and the end to bring one level out. And that's very important, for instance, if you have a track on the radio, because if there is a very low part, it needs to be heard. So you can bring that up by using this function of a limiter. If it is the whole band playing, you can bring it down and what you have in the understand low-level will be brought up, allow part will be brought down a bit and you have one dynamic throughout the whole song. It's not that musical in a way because we want to have that different level stars. But if you want to master music and you want to bring it to the radio or to the internet or TV streaming, whatever you need to bring those levels all in all onto one dynamic range so you can hear it while you're sitting on the train or going by bus or having a walk. That's what we're dealing with today. In same thing, This multiband dynamics. That's a compressor that works within an equalizer throughout the whole settings. So let's have a quick look. A normal compressor could look like this. Usually we have a ratio. We have a parameter called attack and release. That's when or how fast the compressor kicks in and how long it holds its value. And in the end you have something like a knee or a output setting or a gain reduction setting. That's where we can set how much we bring up two to refill TR. We already compressed away. And the decibel setting that brings it more to the front. We have a threshold setting. That means the threshold you need when the compressor starts kicking in. And of course we have a dry wet setting. So that's what we usually work with and we have different settings and all different kinds of usage you can work with, but the functions are all the same. So let's take one little, little bit of this piano part to compress it. Working with a threshold. Now you can hear how it's compressing the sound bringing in, I need to bring that up again, but it would sound definitely totally different. There's not much of a dynamic anymore. That's the original piano. Can hear each hit on the strings on the cheeks. Now we're pushing that away. We'll get better if I bring that down. Bring that down. More attacking the South. That's what compressors can do for vocals for all instruments. Very, very useful for drums on as well. Now let's have a quick look on the gates, how that works. Let's use it for the voice. As you can see, my level is too high, I cannot hear anything. See turn that off. And that's exactly what the gate does. Now, if I bring the return up, you will hear the cell border when a sound is gone. That's exactly what a gate does. Everything underneath that value is pushed away. Now when I would bring that up, let's give that a try. It will kick in again. Pretty easy thing. So a gate is really useful for things that you want to get rid of that CNU beyond that, now, a quick look on are we already talked about compressors. Let's have a look on the limiter. Would take the folder grand piano again. This is my limiter. Sorry, forgot to turn it on. And I can see it's getting out here, so nothing's happening, turning it on. Nothing's happening again. But when I start to bring down the ceiling, Let's say now start to bring up my game. Now you can see pumpkin seed. That's what we doing when we're mastering. Wanted to make it louder, wanted to bring it up. But we wanted to have a ceiling. So this is all the time when it starts hitting against the minus two, it will push in a bit. So we do not have a distortion, neither have a problem within our sounds. But that's the way to make it louder so we can bring it up, but we can in the same situation, bringing a limit. So it's not clipping, it's not sounding bad. The end, That's the idea of limiting such a sound. And the last thing we need to deal with is the multiband dynamics. Bring that in as well. That can see we have frequencies settings, we have a low-frequency, mid-frequency, high-frequency. Now we can compress them all by themselves. So let's do with a piano as well. It's already doing things now let's bring that up. This is the highest frequency. The more I bring it down and would push away my high limits and I can take the opposite route. And it starts working only for the high region. Same with a roofer down region. Dozens of a difference. That's high in volume. It's not pumping that much. Now of course, you can also create new settings for the output for each part. You can turn them on and off. And you can always say how much of that region do I want to get into my multiband dynamics? And how much do you want to get out? And multiband dynamics, we have different settings here as well. That's just changing those parameters over here. So you can have no who view and you can change those. We have a soft knee. That means that you are not getting into distortion as well. That's very useful for drums, for sometimes for guitars because we can only work in one band, in one filter apart. And very useful for your master's section as well. So that's a park where oftentimes using last thing about that is of course, you have presets is well, my recommendation would be start to work with those, for instance, gated drums. They think they are telling you a story when you see the names of the presets. So just use it for base or for drum, for side-chain, whatever that is, guitar and so on and so on, to get used to the sound and tweak around the play around with those knobs. But I think, in a way explained the basics of all the dynamic processing effects within Ableton Live 11. 61. Audio FX: EQ-Filters: Let's go to the next section with is very important. It is accused and filters or not. I think most of you should know EQ's out of a car or a hyphae setting because even in your smartphone you can tweak the sound by using base frequencies, mid-frequencies in the high frequencies. That's exactly what an EQ does. You can tweak frequencies, you can filter out things. That's why it's called a filter. There are several functions for that. So we have a channel EQ that's looking like that. It's pretty easy, so we only see the frequency range over here. And then you have low, mid, and high. And the output, that's the easiest way a EQ can work and function. Then we can make it a bit more complicated by using the EQ Eight. It's almost the same, but you can bring in up to eight filter bands that you can use to tweak your sound to work around, to bring up things, bring down things, or even make complicated stuff like dropping complete sound parts away. You can change several settings. So you can change the gain setting to bring it up or down. You can change the queue, which means how harsh it's getting into things. And that's pretty awesome if you want to filter out specific things. For instance, EQ Eight is very, very cool, very big win for you because you will work with that a lot to bring up things that you like and take away things that are disturbing your sound or taken away. The sound, accused three is almost the same as Channel EQ. It's not that old schools sound business generally a queue is like an SSL, a channels trip EQ. So it's more like vintage sound. This is almost not really sounding by itself. It's really to cutaway things, but it only has three bands are pretty easy to use. Low, mid and high. Bit specific is the auto filter. Filter in general, if you load that up, it will look like this. And here you can do like filter settings. You all know that I will demonstrate that quickly. Let's say it's on the piano and you could do things like that. Just moving through the frequencies, you can change the settings. You can do that with the low notes as well. You can do that in the middle. It will be like that. By going through the frequencies like that. Very common thing very often used within modern music, within dance music, electronic dance music. So this is the thing that all of you will go to who need those filter drives within their rise or downdraft or whatever. Very important to EQ is used for bringing up things, taken away things or filtering things and creating specific sounds. And of course, you have presets already prepared for you. So you can just take choose them by using names. So you can see like cheesy speaker for instance, it's pretty, pretty easy to get what that means. Creates a sound of a speaker or dance master and so on and so on. So this is pretty good, pretty handy. And I liked that the acute itself that's coming with Ableton Live is not sounding that much, so I'm using EQ Eight Most of the times. And that helps a lot to really take away the things that I do not like within the sound of an instrument, whether it's midi instrument or an audio instrument. Let's move on to the next section. 62. Audio FX: Modulators: Let's have a look at the modulator or swell. If you go to the modulators that's over here, you can see it has to do with envelopes and LFOs and shapers. We already talked about that when we would talk, when we were talking about midi instruments. So it's a synthesized things. So here you can do some crazy things. You can pluck that onto a track. And then you have like some, some grain settings, mapping settings to work around. But the thing is you need to load up the things that are behind. This is just in a way, decoding new music as you have seen things going on, see that little row, it's analyzing your sound a better way. Or when you really want to have a sound, you need to rise to bring up a, for instance, the fast rise and fall. Now it starts to work. Even moving. It's very subtle. Those could be ideas with a filter like that. Or let's try another sound. Offset. Try out whatever you can do over here to use those modulators, shapers, it's in a way yet disturbing a bit and it's working better with separate instruments. So it's not working with all the instruments that you need to know, but you can do some crazy things over here while using the modulators. And there are so many things that you can try out. No real problem, just load them up, give it a listening if you need that sounds. Go for it. 63. Audio FX: Pitch & Modulation: Another group is pitch and modulation. And when you open that up, you can see modulation means panning things. Chorus is a topic, frequency shifting and phaser flanger thought all the things that are working with pitch or with a changing the main sound, the main character of what you're working on. So let's start with the auto pan. It brings things from left to right in different settings. So let's start with the shredder for instance. As you can see, that's interesting. What will happen from bringing noise to the sound to totally destroying it. Everything's possible. Other settings like this one, very fast panning thing. And so I think that's clear to bring in those auto padding things. And of course you can just load that up and create all that stuff by yourself. You have chorus sounds, so sometimes it can be very interesting as well. So let's take the classic chorus to give it a listen. Without tweak the dry wet setting to get more of his 70s or 80s stage piano. So that's quite easy as well. Interesting for guitars, sometimes four choirs, or for piano sounds. Frequency shifting is a bit more complicated. You have like a synthesizer in there as well. Or you can do the ring modulator things or the phasing things. So maybe let's listen to that. Just making the sound sharp and it's moving. Frequencies are changing. It's pretty interesting. Ring modulation is almost the same. Very artificial. So that's more of destroying sounds by destroying separate frequencies are shifting those around. And same thing with phasers and flangers as well. Flanger is a bit different than phasing. Maybe let's try the doubler. Doubles a signal with a little delay because it needs some time, but it makes it more thick and brings in some chorus part. And you have like a phasor for guitar classic knew that by Eddie Van Halen on Jimi Hendrix. So classic effect that you might use for guitar, but be creative with that. Sometimes it's interesting on synthesisers are strings or piano's as well. So wine, not Yeah, That's pitch and modulation. 64. Audio FX: Reverb & Resonance: The next group is a big group called reverb and resonance. And that has to do with all ruminants or big hole things that you might need for your sounds. So let's open that up and you see there are different sounds. We have a hybrid reverb, we have resonators, reverb spectral resonator, and so on and so on. So let's start and maybe we take our vocal tract right here to give it a listen. So corporis, what does that do? Well, it brings in some frequencies. Now, if you have a voice, you can maybe bring in some substance to it. Let's listen to it. First of all, like that. Bringing it in, bringing the blue meanness. And you can work that out here. It adds a sub frequency and that's what has happened here all the time. So for instance, if you have a, I don't know, loop metal needle can show what is happening over here. Rhythmic brings in, in a different sound that can be very interesting for choirs or for second vocals. Why not? But that's a bit specific. Hybrid. Reverb is a bit more old school so he can see all that's interesting. I have Hall, I have room, I have space. I have special things. So he can see where you can choose from. So you have echo sounds here if a phone call that could be interesting as well. So let's open that up. Sounds good. So that works directly from the beginning because they have reverb and an acute together. That's what's called the hybrid reverb. Because if both of that, of course you have big rooms, like a big hall. Great. If you need that big sounds, you have different sounds like small dirty play, for instance. Sounds very vintage like sixties. The vocal play That's pretty good. The big and with a long tail. Please have a margin can always work with the dry wet setting. That's a, in my opinion, a go-to. If you need vocal sounds are different room things room could be interesting. I use it oftentimes for my drum sounds to bring it into a small dark room or a synthetic drum room, something like that to get it more of a natural feelings that can work. Very good. Let's try the room one more time with our piano. If you use this room first without very dry, I'm bringing in the room. You can adjust that. Adds more add to that, and you can bring the whole band and two, that synthetic room. Pretty cool thing. I think this is clear space is a very big ideas for echo streets and things like that or special places like an empty oil tank. You have different reverb settings and sounds to use. Whether what sounds you are using, that's all about reverb and resonance. Few free to play around with that and do your own experiments. 65. Audio FX: Utilities: Last section that we have is utilities. And that's pretty interesting because utilities are a bit specific. If you open those up, you have lots of audio effect racks in here, like M simulation distortion again, but you have things like mixing and mastering, and that's pretty cool. So if you're new to mixing and mastering, that can be very helpful even for your groups. We will talk about that later on. So let's say you have a drunk group. Those are sounds that you can directly drop onto your drum group track. You have instrument rec for separate sounds like kick sound or snare sound or analog tape. You have many, many presets for your Master way to work around with that. That's pretty, pretty useful if you're new to mixing and mastering. Of course you have filters as well, base filter and so on. You have sets for DJs and performance that are useful if you use filter drivers and things like that, pretty cool. You can control that with your midi mapping against are pretty, pretty cool, pretty useful. But what's interesting as well, you can find a tuner here. That's pretty cool. You can put that on an audio track if you want to tune your guitar or bass, for instance, or if you have a customer in your studio who has no tuner, pretty cool, pretty handy. But you can use that omitted treks as well. And you have the possibility of do some mastering things and that's a thing we didn't talk already. So of course you can put effects on the master way or massive tract as well. And one that's very, very important spectrum. I usually open that up by taking the instrument itself. Now if I start playing and I'm on the master track, I can see the whole spectrum of my music. See that I can change the setting. This is a block, so-called block. So let's increase that. You have all the information about your frequencies, where my frequencies are at, what is happening? How is my low-end? How am I myth? How am I a high parts? That's a lot of information. You can even see what's happening on the left side only. What is on the right side only. Both together. Pretty cool, pretty amazing. You can change the view of it like this or even like this. So we have further information in here. As you can see, there are other midi notes over here, so we do not see the frequency in Hertz or kilo Hertz. We cede as midi notes, pretty handy if that gives you more information. That's just a utility tool. It does nothing to use sound, but you can see, is my sound good, or where are my problems? Where is that feedback? That disturbing noise within my sound spectrum can be used on the mask wave for the whole music, or directly on your instrument track if you want to use or use it to find some information about your frequency things. Now, another thing that's quite useful is the utility folder, because here we can do things like bringing in wide stereo. Let's say I do not like how that grand piano sounds. I wanted to make it bigger than it take wide stereo. It's just a tiny program, but I can expand the wife. I can do other things. I can listen to the base frequencies and mono or even solo those. If you do not have a subwoofer to switch round and you want to have a look on your low-end on the mass subtract or on a track, it can use that function to give it a listen. And sometimes introducing listening in mono is very important because if you're in a studio like I am, I have a perfect setup. Everything is fine, but people in the end, we'll listen on their smartphone and not on the expensive ones maybe. And you want to have an idea of how your music sounds in there. And the difference between mono and stereo is that you want to use mono. You do not have left and right. So it will bring all the information you put for left and right together in a middle. And you can, in a way, pretend that you are using a mono speaker right now if you click that button, just listen to that. Brings all together in the middle and I can still see something crispy is on the clear. Maybe I need some tweaking serum. They're pretty cool thing. You have other things like face invert, something you need sometimes when you record several tracks at the same time with a different microphones, you need to invert the face so there are no problems within there. That's the utility settings. So very important, although it doesn't do anything to yourself, but you will find lots of presets for your Master way. You find an analyses that can help you to see what's going on within your frequency band. The tuners pretty handy. And this little stereo setting, mono setting within utility is awesome as well. So pretty cool. Work with that and use it especially within mixing and mastering.