Ableton Live Lite For Beginners: A Step-by-Step Guide

1. Introduction: Get your free copy of Ableton Live Lite. You struggling to install it or find it to overwhelming to learn. Don't worry, I can help. I'm pleased to introduce you to my Ableton Live Lite Beginners Course. Unlike other courses that overwhelming you with so much information, I understand starting out should be an exciting journey, not an overwhelming what my name is Craig glow. I've been teaching music technology for the past ten years, or something, UK's most popular music universities. But this experience, I've created the perfect balance of all the essential basics you need to get up and running without confusing, you get ready to start making music in next. No time. See you in class soon. 2. Module 1 - Overview of Ableton Live Lite and its features: Let's first discuss the features of Ableton Live Lite. So if we scroll down here, key features remain predominately the same as the, all the versions of Ableton Live. And also it stacks up against any other professional DAW in terms of the, it can do multi-track recording up to 32-bit 192 khz sample rate, which basically means it can record audio, playback audio to a very high standard. You have all the features that you would find an associate with Ableton Live. You can include your third party plug-in, so it's any extra audio effects or instruments you download. Now whether limitation is we can only have to send return tracks, 16 scenes, eight mono inputs and outputs, eight audio and midi tracks. So that's where we're going to find the limitations and we'll have a look trying to get to these limitations and see if it's a problem for us. Okay. The other limitations is the amount of included software instruments. We only have 1234 audio effects. On the other hand, we have quite a few. We scroll down here, you see there's quite a few going on here, which we will go into what they will do later in this course. And we have midi effects as well. Again, we have quite a few. Then this here also shows all the amount of extras you get. So how many racks? While racks are basically like Presets, then how many midi clips? So you get some preset midi clips. Also you get some presets as well if the individual instruments and Audio Effects templates. And then you get some samples included as well. So that's all the features of Ableton Live Lite 3. Module 1 - Installation and set up process: So let's get able to Live Lite installed. So if we go here to get Ableton Live Lite, first thing you need to do is scroll down and find out that it will actually work on your computer. So you need to see if these specs match up with what you have your computer. So what's really cool about Ableton Live is Mac and PC compatible? Just check you have all the specs on your Mac or PC K, If that's all good, Let's download it. So that installation process for Ableton Live Lite is slightly different. Able to Live intro Interests, pretty much straightforward. You go to the shop here and you go by now. And you would download intro. It would ask you to create an account. You will then download it, press a button enabled and allow. It says authorized and it's authorized. Be harder with Lite and let me go through the process and I'll refer back to how easy it is with intro in a second. So we go Get Started. We click Download. Once it's download, run through the installation process, then go to your applications. And we're just going to double-click open up able to Live. We're gonna go authorized with ableton.com. Now, if you would installing intro, this is all you will need to do. You would click there. It would open up your account. You got open sweet. And it will go is installed as long as you are still signed in on your browser to your account where you purchased intro. Now if you see here it says licenses do not match. So remember, Ableton Live Lite has to be purchased with a controller. So it's not completely free, although it looks like it's free there. You have to have a license. So I've brought a launchpad by novation. I've signed into my account on their website, and then I go to my software and it shows all the software that comes with my products. So you need to just double-check before you purchase a product that comes with Ableton Live Lite. I go view details and here's my cereal. So I'm going to go copy that. Now I'm gonna go back to Ableton Live website. You need to create an account with Ableton, but it is free. Then once you've done that, if you see up here I have my licenses. Click down. It says register a new product. And I'm gonna do is paste the code for Ableton Live Lite, press Submit. Then we're going to do the same thing with you for authorized with Ableton. Is Ableton Live Lite authorized. Click Authorize Pope and Ableton Live. Sweet success. We've been authorized. Now if you don't do that process, it will come up with an orange bar down here saying you cannot save and export. So it's really important that you do this. Now, depending on when you downloaded, you might need to do an update. And I'm just going to update that now and then we'll get started. See you in the next video. 4. Module 1 - Interface orientation and navigation: This is the main window of Ableton Live Lite. So let's go through and figure out what all of this does. So it can be broken down into 1234 main sections. So we have our transport controls, our browser, a detailed view on our main music creation area. So let's start with the transport controls. So not gonna go over all of them. I'll just go over the ones you need to get up and running. It's the first one is the tempo up here. So this sets the speed at which you listen and record your music. You can adjust it by simply clicking up and scrolling up or scrolling down. You can double-click and type in value to be able to hear the pulse of the song, you can use this thing here, which is the metronome. So if I press space bar now to engage the playback, you can hear the metronome sound. I can slow it down, beat up, Double-click to get back to the preset 120. Now if you click on this little drop-down arrow here, we have options so we can have accounting. So that gives you cinematic bars before it starts recording. That's always quite good. And then you have some rhythm options here. And enable whilst only Recording Standard off for now, next thing on the main transport controls. So we have play, which plays back any audio or midi information we would have engaged or in arrange view. We have stopped, which stops, and if you double-click it takes it back to the Start. Here we can see where we are. Bars, beats, and then 16th notes. So if I press play here, 1234, you can see it's going through. This enables us to record. Now we'll come onto this in minute because this record works slightly different to a traditional record and unnormal DAW. And this one here also records, we have to record. This record basically deals with the other view which has arrange view. This record deals with this view which is called Session View. So this is called a transport Record and this is called our session record. We go over here, there's a couple more features over here that we should be aware of. Which is this little feature here, which is our pencil tool, which we can press B to engage that on and off. And that enables us to draw in midi notes, which we will do later in this course. Next is the keyboard here, which enables our query keyboard to turn into a midi controller. So be careful to turn this on when, only when you need it, because some shortcuts become redundant. If you have disengaged, if you have a presser shortcut that I say and it doesn't work, check that this little dude up here isn't engaged. Then key mapping will come on to that later. But this is where we can essentially map, I think, to our query keyboard. So if I wanted to stop button here to number one, I would just press number one, press that. And then if I press one, you see it flushes. Next is midi, which is exactly same, but for an external midi controller, it keeps you updated on your performance of Ableton Live. So it shows you the percentage of CPU you're using. I'm on two. So you can have a worn when current CPU overload. And then also it tells you when you're audio engine is on, which we will come on to how to set you audio engine up in a minute. So that's sort of features you need to know about for now. Next one is the browser. So if this isn't already open, It's this little drop-down tab. So you have a categories with all the different things you need. Use within Ableton Live Lite. Then we have places, which is just a link to places of files and samples are stored on your hard drive. So we come down here, we have another little menu which is tucked away. And this is something called the groove pool, where we can add swing and grooves to our already existing midi clips. Don't worry if any is terminology doesn't make sense just yet. You're in the right place because as we go for this course, it will all make sense. You have another little hidden drop-down menu here, which is our help or Info view. So if I keep that open, if I hold my mouse over anything, it tells me what it does. So this is quite good to have open whilst you're learning Ableton Live Lite. Next is our detail view. So this will either show our instruments we have on our midi tracks. So if I click the top of midi track here, it will show an instrument. If I click the top of audio track, it would show audio tracks. If I clicked on either midi clip or an audio clip, would show me what is inside. Then you can hide that here with this little drop-down menu here. And that brings us onto the main elephant in the room, which is this view which most people open up Ableton Live and go, ****, no, this is just doesn't look like any other DAW. What is this all about? So this is something called session view. So let me dissect it into three manageable chunks. Which is, first we have to understand what the tracks are, the clips are, the scenes are, and then we'll get playing with it and see how it all works. So first off is we have tracks, the tracks of vertical columns that contain clips. And the clips can either be a region of midi or a region audio clip. So the burden block of life, there are pieces of musical information or midi information that when played or launched, will loop continuously until we tell them to either stop or play another clip. Now we can stop them by pressing, as said before, the stop button. If I put a clip underneath, it will cancel the clip out. If I put a clip next to it, it will play on top. I will demonstrate this in a second. Last thing we need to get used to is this thing here called the scene. So scenes are used to launch every clip in a row simultaneously. So we click on the associated seen Launch button, which is this Play button here. And that would play all the clips in that line. This is very good for organizing our clips into different sections of a song. In the tracks we have a few more controls here. We can control where we receive audio from external. N means audio from outside the computer which we will come onto in the Recording audio. Monitor is then how you hear that audio coming in and real-time. Do you hear it directly from the sound card or do you hear it being processed through able to live? Then we have sense, which is where we can route the audio to one of these send and return tracks. We have a volume which we can adjust the amplitude of the audio or midi, get it back to zero, just double-click. We have a pan which adjusts the audio or midi within the stereo image, we have a meat which silences the track. Then we have a solo which will just play that one track that is solid. The rest. We also then have a record engaged, which ones that's turned on that enables us to record loops within our track 5. Module 1 - Basic preferences and settings: Check our audio preferences to make sure that we can hear audio coming out of able to Live. We do this by pressing Command comma on a Mac or Control comma on Windows. You can also go up to the shortcut here. It says settings. I believe on Windows, it's in Options somewhere. Then we're going to choose the Audio tab down here. And we're going to look at this area here, the audio input, output device. This essentially deals with how we hear audio going in. So when we come to record how we will get the audio into Ableton Live for it to capture it, and how we hear it out. And that's the main thing we want to do today. So depending on how you've got your computer setup, you listening just on your laptop speakers. Do you have your headphones plugged in or do you have an audio interface? If you don't know, audio interface is simply a box that you plug into your computer that allows you to convert audio into Ableton Live to be recorded and captured. Once you've plugged that in, you will then need to plug your headphones into the audio interface. Not the computer will come onto more about that in the Recording audio section. But just if you've got that in, remember that's how you, you plug your headphones in or plug your speakers in the moment I'm using some streaming software. So that's where I'm hearing the audio. So this drop-down menu here basically dictates where the audio is going to come out from. If you are listening on your audio interface, you choose your audio interface. If you're listening on your speakers, you choose your speakers. Or if you've got Bluetooth headphones, we choose your Bluetooth headphones. We don't need to worry about the rest of the settings just yet. We will come on to that into the audio recording. So now we should be able to hear something. So if I click on one of these, we can hear it 6. Module 1 How to install plugins: You could do this by pressing Command Comma, which opens up the preferences or on Windows is controlled comma. You can also find it up here in the Live tab. You go to settings or in Windows, it's an options. And down here somewhere, once you're in the settings, go down to the plugins tab. Make sure you use Audio Units. Version two is turned on, Audio Units turned on, and then use VST system plugins folders. So when you install your VSTS from developers, they will automatically install into the system folders. If you've had to manually install things on your computer, you might have custom folders. So you can choose your destination here by going browse and finding where you're plugins are stored. And you can turn that on his wife. He wouldn't have any VSD twos in any custom Florida. So I'm just going to keep it in my system photos then same for, same options for VSD three. So to choose the system photos and set the same thing down here. You can choose the destination if you have any custom folders. Then here the plug-in windows, this is like an additional option I would highly suggest to having multiple plug-in windows on. Then you've got auto hide plugins in Windows, turn that off, an Auto open plug-in windows turn that off. So basically what happens then is if I select the track, it will automatically open all the plugins. And then he got Auto open plugins says basically means if I'm not on the track, it will hide the plugins. And if I'm on the track, it will automatically open up all the plugins, not big finance, so I'll just turn it off. It's just good to be aware of it. So close that down. We've done everything we can enable to life. Now, what we need to do is go over here and go to our plugins tab. And that will show bull the plugins you have available on your computer. 7. Module 2 - Understanding audio tracks and clips: As discussed before, and the overview clips are the building blocks of Ableton Live. There are regions of music or midi information. So let's look at the differences between midi. If I double-click, I can create an empty midi clip, which brings up the midi clip editor in the detail view, this is where I can control sounds already living within Ableton Live. This is where we would use our instruments tab here, which we will come onto in a bit more detail on the midi section of this course. And I would use this window to draw in or record in some information here or language that over a period of time would control a sound. Now, audio, on the other hand, is Recording real instruments with an audio interface or microphone. Or it's using samples of pre-recorded material. Now, Ableton Live Lite comes with a bunch of samples. We can simply click and drag a clip like this. And you will see this is now an audio region. So if I press Play, we will hear a short spurt of audio 8. Module 2 - Importing audio files: Let's now look at Importing some audio samples and playing with all these features we've learned in Ableton Live Lite so far, we'll come onto the midi stuff a little bit later as this a little bit more complex, its first off, we're gonna use this Add Folder tab here in the browser window to find a folder that you can download for free on our Gunn wrote page, Lincoln description below, which is a free sample pack of audio files. Now this simply creates a link to a destination on your hard drive. And then you can preview all these files within Ableton Live Lite. They will perfectly match the timing of your songs. You see here minds at 123. So if I want to three, now if I play these back there all magically be in time, which is great for getting those creative juices flowing. How we import these files is quite simply, once we got it here, we can simply click and drag it in. Now that has imported this clip. So if I go into my arrangement of here, I'm going to launch my first clip by pressing this little Play button here. Now the detail view comes up and you can see what's going on. So at this clips, you can see the audio here. So that's the volume of bits. So remember we can turn it down or turn it up here. Double-click to get back to zero. We can use the sense to extend it to some effects tracks which are here. We have another one which is a delay. To add more layers to that, we simply will choose another instruments to the kick drum and drag it either into this area which says drop files and devices here, which it will create a new track for us ready to play our audio. Or we can drag it onto an existing audio track here and press play. When we're cooking already. Great 9. Module 2 - Launch Quantisation : Did you notice I press them all at different times but they all came in on time. So this is something called Launch Quantisation. What does Launch Quantisation mean, Craig, It's this dial here. It's basically the Quantisation of pressing play on these loops. So Quantisation means keeping it in time essentially, as a default, Ableton Live January across the board is on a one-bar Quantisation value. So basically means wherever I press Play, it will wait to the first beat of the next bar, and then we'll play it. Let me demonstrate this view. So if I have this kick drum going, I want to bring in this percussion. Look at the top of here, 1234. Now if I press it on beat 21234 DC, it flashed for a little bit before it went and played it. So essentially that keeps everything in time. Now, with this sample pack, I've made it pretty simple in terms of either have to take in consideration chord sequences. That's the only bad thing. So if you had a base track that has an arrangement of four Bahamas, you want to make sure you launch all the harmonic information in time with the sequence of chords and paste and all that. But for this we can get going. We can just bring a load of stuff in. So you see there plus bonus 10. Module 2 - Launching clips: Once the wants to clips are engaged, the play buttons will eliminate. Now when I press the transport play, which is this play up here, all these clips with the green play buttons to engage will play. Press, play again. We'll play. How do you turn them off? I hear you say, this is where the stop buttons in the track work. We can press the Stop button in the track. We can press the Stop button here, or we can press the Stop button here, which stops all clips. So it's a few options there. So here we got clips playing on top of each other to cancel, to get the clips to cancel each other out. Say for example, here if I choose another kick drum, if I put it next to it is going to play on top, which we don't really want to kick drums playing at the same time, same rhythm. It's just not necessarily. But then maybe in another section I said I want this kick drum to come on. He put it in the list. So you watch here. Same thing happens with the Launch Quantisation. I compare 12341234, turns this clip off and engages this clip. 1234. We got to think about when we're using Ableton Live as sounds that go on top of each other, go next to each other. And the arrangement, we work almost down in a list fashion. And that's add a few more layers to this. So we have our percussion, maybe a simple layer. Maybe like another percussion, like a shaker or something. That's bringing a baseline in this one. And I go around and adjust the volume of things. You'll see here is start going into red quite quickly. So remember, you can adjust the volume by turning things down quite turn the volume down like this. Generally want to stay away from red. Come on to that in a bit more detail in the mixing section at this course. 11. Module 2 - Understanding scenes : What we wanna do is create a short arrangement using the scenes. Remember this is like the list or the organization and sections. So cool, shortcut, Control D or Command D and Apple, and this duplicates. So I just did it a couple of times here. And what I'm gonna do is I'm just going to work backwards. Maybe take the base away from that one. Percussion. Let's do all the same. So that just comes in on the chorus. They're kicks going to steal away Drum top. Maybe that could come in here. Then we delete all that Drum top command there. Let's do that. Okay, So I've deleted, I've still got the same thing, but now I'm kinda building like crescendoing. So if I press Play here. So if I stop Eclipse to start again and press play here, bringing the next section concerning clips off and maybe I won't, that won't go and actually bring that back in. We want the base going on that one as well, just starting in next section. This next section, the kickoff and bring it all in 12. Module 2 - Introduction to arrange view : You can see it's quite good for sketching ideas. Notepad. And we've gotten arrangement here going on that we have to manually control. So this translates quite well to Live performance area, unlike a jamming of by, but in terms of like showing somebody that you might not want to perform it to them or you might want to send it to them. That's where we can record a short arrangement. We want to turn off all the clips here, double-click on this top button. Then what we could do is we're going to record the arrangement, the clips being played. So whatever I play in here with this record, it record into this view here, which is arrange view, which we'll come onto in a second. If I press record, it gives a two-bar count in a setup. Press play on this. Now recording what's being played in the other view, into this view. Let's go down here. In, at that point that I just press play. Next one. Okay, so you get the point. Then I gauge this view by pressing this button up here. So what it does is ultimately mutes it. So when I press Play now, hearing this and the other view at the same time. So now the other view, session view is muted and this V is engaged. So if I press Space-bar, now you're hearing it's arrangement and I can move the play head around and I can move all these things around and just generally arrange it, which we'll come onto later in this course. But essentially arrange view is same as what we've just heard, but it's just a different way of viewing the audio and midi information. It works kinda like your traditional DAW setup. It works on a predetermined timeline. So we have bars top here and we have timed on the bottom. The tracks are now viewed horizontally rather than vertical columns. You have all the same track dials here you have the IO, the Monitoring, the on-off solo record, volume, Panning, and then the sense also have the output here. Also you have the same colors in the same names 13. Module 2 - How to save: Let's now look at how we would save all our work within Ableton Live. So if you're on Mac, it's Command S. If you're on Windows, it's Control S. And we get the option to save. I'm gonna go and save it on the desktop. I'm going to save this, has able to turn Live Lite course, press Save, easy, less than over. Not quite. So Ableton Live does a weird thing. So if I minimize this, come down to where we saved it. So this is our file here. It saves it as a folder. If I open, we have Ableton Live Project Info, and that's it. Now, the thing that's confusing is we've got audio samples in here, but they are not saved within here. We're Ableton Live does is it simply creates a shortcut to where the audio file is saved on your hard drive. Imagine it like a fishing line. It just goes and holds deficient line out. Now, when you save it, it doesn't automatically real in those samples. So if I was to then give you this file, if I emailed you this file, like a lot of my students do, I would open it up and it would say samples offline. Why? Because we need to do another option and Ableton Live. So we've press Command S to save it. Now once we save it, if we go up to File and go down to collect all and safe. Well, that does is it simply reels in all those samples and stores it within that folder. So I press Okay. It will ask you, Would you like files from elsewhere? Other projects use a library, files from Factory Packs. Just select them all and go, Okay, you see they flashed a little bit. Now if I go back to that folder now, can you see I now have backups and I have a samples folder. There is all the samples that were imported. That option is good if you have samples on an external hard drive, you don't want to keep plugging in the hard drive. Or if you want to share the project with someone, I would say you have to send the whole folder, not just this file. So it needs to contain everything here. So you would need to send this whole thing here. And you can do that by right-clicking and pressing compress, and then you can send this zip file. Now there's a few other options. So you have save lives set as this is really good for saving your set as an alternative file. So if I go in here and go save as save in the same project, and I could call this course V2. So what that does is it will create a new version. It will leave the previous version untouched. This is good for mixing. If you're mixing different versions and you want to keep the original, you could do this. There is another option could save copy, and that essentially does the same thing. We've done. Collect all and safe, which is what just demonstrated then we have save lives as a template or save lives set as default. Things do exactly what they see on the scene. You can save this as a template. So you could have all your effects plugins and everything on. Save it as a template. When you open up able to live, you go down to templates and open up a template here. For example, there are some, this one's already made here. For example, the podcast template for open that up. We have everything ready to rock and roll in there. We can also save as default Live set. So basically that means every time you open up Ableton Live, it will have all your settings pre-made. This is quite good. If you have a studio with lots of ins and outputs, you can always open up your template. You don't have to do all the routing, put plugins on and all that. Yeah, that's saving within Ableton Live 14. Module 3 - Introduction to MIDI: Before we get started, let's figure out what midi actually is. Midi is essentially a set of instructions that we give the computer to make a sound. We tell the computer where to play, what to play and how long to play. And then we can customize the sound that we wanted to play as well. So midi controls the virtual instruments that Live with inside the computer. We can do this by either Drawing in midi information or playing in Live like an instrument, just like with this midi controller here, we can use it to play something akin to what we're gonna do is we're going to start by drawing the midi notes in. This allows us to create drum beats, Chord baselines. I think Else without the ability to be able to actually physically play them in. So if we're not the best drum or best keyboard player, we can actually just draw what we would like the computer to play it back to us. Also within Ableton Live, There's a few handy tools to help us conquer music theory as well. So if you're also thinking, well, I can't play an instrument. And also don't know music theory. Ableton Live's got our backs, so don't worry about that. When you create a default set in Ableton Live, you will have to midi tracks and two audio tracks. So the midi tracks, we'll deal with the midi 15. Module 3 - Drawing in and editing MIDI notes: We create an empty midi clip is we simply find an empty clip slot and we double-click. There we go. Now by default will able to knife will do is it'll create a one-bar loop. Loop is turned on here, you can turn it off. So that means it would just play through the one-bar. But as a default, turns on to help us see that this is 1 bar. Ableton Live has grayed out this section, which is beat one, and then greater this section on beat 234. Maybe we see there's another four segments within each one of these areas. That is our 16th notes within music. So what that basically means if we imagine each beat as like an orange, we have 1234. So orange, we can then cut those beats up into segments of the orange. Usual one is we cut them in half. We get 1.2 and 3.4 and the subdivision will go in. Here are the segment of the oranges. We're cutting it into four. We have one E to E and a 3.4 under that's one E. And that's quite confusing stuff with so I'm going to reference that is I'm just going to call this beat one. And then I'm going to reference what space I would like to put it in. So beat one space to be here. Beat three space, one, beat for space one. It makes sense. So now we've got the duration and we can see this across the top as well, beat 1234, and then halfway point is measured there as well. Now done the left-hand side here we have the musical keyboard. Now this goes up in octaves. We scroll up. You get the highest picture is to see, if you scroll down, you get the lowest pitch, which is C minus two. And essentially if you imagine it like a spreadsheet, we plot a note on a horizontal line which represents the pitch. If I double-click to create my first midi note will be G. Then along the top it tells me at what point in time would I like that Note to happen? At the moment that's going to happen on beat one. So if I double-click on the first base of each beat, you would have a note play on the first base of each beat. So let's jump in and choose an instrument. So I'm going to go to instruments here. Instrument Rack. I'm going to go down to piano and keys. There's some nice E pianos here. So I'm gonna go to the piano, the piano score, and drag that to the top of the channel, and that will load. And I see the midi channel has changed. This is what it was previously. It would just show us that it was sending midi data out and we'd have a midi output here. Now if you look, it's been loaded with a sound source. So now it's sending out audio and we have a meter here. So now if I press play, sounds like a heartbeat machine. Okay? So what we can do is we can highlight the notes and we can shift them up and down by pressing command shift down says you can hear what's happening there. And then if I double-click on here, you're going to have a different rhythm of that Note. Okay, fantastic. This is all well and good. Hopefully that's making sense. We can also adjust the length of the Note here by dragging out. And also down here we have to Velocity is like how hard the node is going to hit when we program in the all come at the same velocity, which can sound a bit robotics. So we can go in and we could just drag it down. That's gonna be less hard. And we could drag one out, that's gonna be harder case. It just the Tom burnt humanizes the rhythm. We can also click in here, press Command a and select randomize. So that will randomize the velocity from the point that is at within 127 degrees. And then you have, well, how much is it going to randomize it by? Is it going to randomize it with a whole 127 Velocity range? Or could you just do a little bit? Let's just do a little bit. Chuck them out a little bit. You can go in and decide doesn't naturally mean it's gonna be better, can be a bit too random. Okay, great, So that's, that's hopefully making sense. And now let's make some music with this. So let's program in some courts, this feels like a good octave. If you're unsure of what notes to play, what you can do is turn on this little headphone dial here and go through and select. Now, this is where this little built-in lifesaver, it's been put in, it's good Scale. Now what we can do is we can turn it on and then it gives us what highlights, just the notes that live within a Scale. So we've chosen, see, if we go what we started on G. Let's choose a G, G major. And then it only shows us the notes that live within G-Major. Now the ones that are grayed out, I mean, they are not within the key, so if we played them at technically would sound wrong. Now what we can do is we can press Scale and that will fold those notes away. So now we only have notes that live within G major. So this makes it super easy for making chords, which is great. We can do is we can go and we can create a chord sequence. Its first thing we're going to, we want to extend the length of this loop because we think about chord sequences. They don't naturally lasts for 1 bar. Usually have four chords and their last row bar each. So we could do that by going up to length here. And we can select for, now I'm just going to delete these midi notes here to start again. Now if you notice, I've still got all these subdivisions going on. And what I want, what I want to do is I want to have my chords ring out nice and long. So it's a quick way we can do this. We can right-click and we can choose the fixed grids. The fixed grid is how many segments? So we seeing, I'm going to just put it down to 1 bar here. Now it gets rid of all those subdivisions. And when I put a note in, if I choose this G and now lasts for a whole bar. Now this is really cool because now we can't plenty wrong notes. What we can do is we can simply just put a Note Anywhere. I recommend doing it within the octave. So if we went like that, there may be. We go through. Now how Make chords with that as we just simply count up three notes from this note. Here's 123123, same here. Now we should have a diatonic chord sequence. Basic means it's in key and it should sound, should sound. Alright, nice. Now, this is a little cool trick. If we, we click on this first Note here and we press Shift, go through it and select all these notes here. Hold down option. Now just drag them down an octave. So now we have like a bass note here. This is where we can go in now and randomized some of these Velocity. So I'm going to just select them all and go sit, Let's go up to ten here and go randomize. Know it's kinda moved them all around a little bit. Now say if you wanted to go in and put another chord on the end here, what we can do it, we can go right-click, go back to a fixed grids. So let's say eighth notes this time, I like the notes. This is where we can edit the rhythm. There we go. And then I can double-click and maybe put in Chord just before I maybe do. Let's try this code. Let's go like that. And I'm just going to click like this. I can do here. I can either extend them out like this or I can just press the go-to up here and extend them. There we go. So that's, that's Programming chords. And now try experimenting with different chords in different keys by goat here and select different route notes and stick maybe a minor key. If you want to get a bit Work Strava, you can choose all these different kind of crazy scales here. Then press the Scale button up here and it folds it 16. Module 3 - Recording MIDI overview: Now let's look how we would record midi. So there's two ways we can do it. First way is we can Record a new clip completely from scratch. So I'm gonna do that with my midi controller here. To just put an insulator. You don't actually need an external midi controller to play these midi notes. If you've got this little dial up here, tennis on, you can play your query keyboard just like a musical keyboard. So a becomes that the musical see, the track comes to see. Now we can change to the octopus by pressing Z, which goes down. X to go up the audio is now we can play chords. So this is a C major scale. Then we have two black notes in between, which is E. You can also turn this off by just simply pressing M on the keypad here. 17. Module 3 - MIDI preferences : Before we get going with midi controller, we just need to check that our preferences are set up properly. Now, most midi controllers these days are something called class compliant. This basically means you plug it in and ableton Live will recognize it straight away. You don't need to download any additional software. But if you do plug your midi controller in and nothing happens, you will need to go to the manufacturer's website, go to the download section, and then see if there's any software you need to download. Once you've got your midi controller plugged-in, press Command comma, open up, able to knives preferences and go to the link tempo, midi tab. All we're going to worry about is this section down here, which shows us the external midi controllers plugged in. Say what we've got is we've got in a midi out. So that's how Ableton Live is receiving midi information in from an external controller and how it's sending it out via the USB lead receiving midi in. If we look down here, we have a few options. We have tracks sink remote MPE. So track is dealing with receiving musical notes in sync is dealing with tempo and post information. And remote is dealing with any kind of CSI messages or any remote controls. Now on the output, we can do the same. So we can send midi notes out of Ableton Live to the controller. We can send Tempo Information and we can send remote. Now the reason why I've got it set up like this, I've track because I want to be able to play midi notes in like this. If I turn that off, I can't do it. Remote enables me to control parameters within able to live as well. Now we don't really want to send midi notes out because there are no sounds on this keyboard. But we might have Arpeggiator are sequences built in Arpeggiator areas where we press the fingers down and it will over rhythmic duration playback notes. So if we turn this on, this we'll send out Ableton Live posts or its tempo. That's like what this is. Then it will sink to the controller. Now you'd have to go to the midi controllers preferences and go to sink and select external us in different places for different controllers. So just look at your manual and look at tempo sinking with a door. And that'll be it. Remote. Also, we don't really need for a midi controller that is sending out CC information or automation. So we can control different parameters on our midi controller, which we don't really need to do. 18. Module 3 - Recording and editing MIDI notes: So I do this by turning on session record up here. Now what we can do is we can go up here and we can right-click and then turn start playback with record of CCS tectonics. So I press down it started straight away. I might world not ready yet. So I can turn that off and then I can just essentially arm it so it's ready. Now I can go on my track. That's the record on there. Now can you see my stop buttons which would like this before of now turn to record. So as soon as I press that, it's going to give me a two-bar count in. And you can change that by going up to the metronome here. And I need to engage the metronome so I can stay in time. Okay. Here we go. Now it's playing back to us what we just recorded, okay, and I can double-click and go into the midi notes here. Now, if you played some wrong notes or you're in a different key, I can now I'm playing in a minor key in guaranteeing the Scale feature off here, then we can see our notes. Now notice, classic thing is if I zoom in here and I can do this by going up here and dragging down. See that turned to my pointer head to a magnifying glass. I am late with the timing. So I could go in and move these all round. No one's got time for that. We could do is we can use quantize. This is another beautiful thing with midi. What we can do is we can go Command a, and if we right-click, we can see here quantize settings. So we can go say to current grid or nearest 16th note or nearest eighth note. I like nearest 16th note and 100 per cent apply. Co, it's got it. Now, can you see one of the problems? And it's got this one. It's got this one, this one. I was closer to the second 16th note within the past, so it's coming a little bit late. So what I can do is I can go in again, right-click and go Quantize Settings and maybe set it to one-eighth note. Go play. It's called it Rankin. So what we can do is go Quantize Settings and we go and we can change it to one-fourth. Now, apply masking to snap it to the beat. Will say notes that I got a little bit too excited and I hit the notes a bit too hard. So I could go in and I can highlight the notes here. And then I can pull velocities down to match the other ones. You see there with midi, we have a lot of options to correct our mistakes. Also another thing if you record at save this speed and you want to speed it up, it's not going to affect the sound. You're just simply Recording in like data points along the timeline. So if I do this, so it's an out. What it means is if you're not the best keys, but you could record this very slowly, then speed up a later date. So that's pretty cool. Last thing is with this session record, we can add on top of things we've already recorded. So for example, here, if I look at this recording, I did. And I was like maybe I want to add in like little melody like tennis session recording and then press play on the clip. And it will act as I can midi overdub. See I've got the speed down so I can play. I can maybe go up an octave and go, go CC that my timing is not great. So what I can do is I can go up and I can actually turn on something here in edit code Record quantized, and that will automatically record whatever I play in. So I can go here and then go down to 16th note Quantisation. So it's going to knock it to the nearest 16th notes. So I'm going to undo all that I just recorded. It's done the audio and S-curve again, same thing, play there, session record on that. Nacht in time. See this one, it got a little bit confused, upload a little bit late. So what I can do, I can do select it individually and replace it. And I can also go in and adjust the velocities. If I wanted to go in here, maybe I could go randomize. So that's Drawing and Recording midi 19. Module 3 - Software instruments: This part of the course, we're going to look all these software instruments available to us in Ableton Live Lite. Now there's always only been four available, but since Ableton, new update 11.3, they've included an awesome new virtual subtractive synthesizer called Drift. Let's jump into, have a look at the old for them will have a look at the newly added Drift synth. So you're probably thinking, this looks different to mine. You don't only have five. Why have you got more than me? Because I got sweetened still on this computer. So some of those instruments open up within Lite. So just look at the five that are available in Lite anyway, just ignore the other ones. 20. Module 3 - Drum rack: Start with Drum rack. Drum rack doesn't actually generate sound itself is just plays back samples. So it's an instrument for layering samples, for layering symptoms and also effects. And it does this in a classic 16 pad grid. So let's drag that in. Cc. If I click, there's no sounds. And if I press play on my midi clip, nothing happens, but you can see the play buttons illuminate. Basically it's sequencing those pads, but I need to load them with a pre-recorded audio file. So if I go to my samples here, I can go and search for a kick. It's quite a good place. Bring that down, put that on that pad, then search for snare. Quite cool, but that one there, then hi-hat. It's quite cool as well. Now for press play, we should hear a drum beat. Now this, this has been sequenced by this midi clip. I programmed cilia as they're playing. What we can do is we can also swap out the sounds with this little hot swap button here. Clicks and shows us where the sample that we generated lives within our sample library. Then I can simply double-click on another one. It will load it snaps. We can also layer the sounds as well. So say this snare here, I would like to live with a clap. Search for clap. Drag it down before I let go, if I hold down command, it puts it into an Instrument Rack, and then I have the chance to blend them together. So now I can help have two sounds plan together. We'll look at Instrument Rack in a minute as it's one of the instruments that is included within Lite. So that's how you would load and make your own drum kits. Now if you look here within our categories, Live Lite has its own category for drums, and this is where it has some pre-made Drum racks with samples already loaded custom macros and all sorts of crazy stuff for us to play around with. Now, the ones that are really FUN are the core kits. So I track that on there. It eight to eight core kit and it has some snapshots available for us, a macros, which we're not gonna get into how to generate these ourself in this course. But like I say, if you want to dive deep into that, do have a full course on Skillshare Udemy where we dive in and look at how you can make all these custom racks yourself. So check the links in description below. Let's see what that sounds like. I can play around with some of these snapshots here which changed the sound of the bleed drum kits and the effects on it. To clean. Boomy, low phi. We can go and adjust some of these styles here. We can drive it a bit more to me, a bit more distorted, bit more lower-end, more vintage, and compress it a bit more. Cool. So that's Drum rack 21. Module 3 - Impulse: We're gonna look at Impulse, which is also a sample playback device. But this has a lot more complex modulation capabilities. And we can get some really cool crazy sounds out of it. Let's have a look at that. So it's going to Instrument and we're going to scroll down to Impulse and load that onto our track. This is the empty patch. You can do the same here with the pads as previously discussed with the Drum rack. Drop a sample here is hot, swap it out. What we're gonna do this times we're gonna look at preset. You do this by clicking this little arrow down here. I'm gonna go to Impulse, a two-way, just double-click and that's loaded the samples. Spell misspeak. Right. Now what we've got for each one of these pads here, we have a Modulation section here and some effects. We look here with this, this kick here. I have tramp position and stretch, which this will stretch the sample out and this will transpose it. Now I can have the velocity of the drum coming in, modulate this. So if I go up to my here, you see I've got a Beat, got the velocities here. And I've changed this one here to be really loud. This kick here to be a little bit quieter. And that's going to change and play around with the, the Modulation in here. So if I transpose 100%, can you hear it's affecting the Pitch folks and off again. Now if I do the stretches, I can say it's a random into, I have Random capabilities coming up with the hi-hat so you can do it individually, drive them a little bit. Then we can also do this with the filter as well. So if I do this with the snare here, and I'm gonna turn the filter, the filter on here, but the frequency down into the will see that there we go. I've got some Panning Velocity here. Or maybe let's do that one to do that one to Random. I think that want to work better on the hi-hat such leases do that two random. There we go. We overruled time here so we can stretch all the samples out. Nice. And then we can transpose as well so we can get some glitchy sounds will write down fantastic drum machine this. So play around with Impulse and all the different modulation capabilities there 22. Module 3 - Instrument Rack: When we looked at was Instrument Rack. So Instrument Rack is a way of grouping or combining multiple instruments and effects into a single device and allowing for splits and lead keyboard sounds and customized macro controls. Fantastic. What we're going to look at today is just the precess. The presets are amazing because they've got quite a lot of real sounding instrument. So it's really good for pianos. If we scroll down here, we have some amazing piano samples. Select the E, E Piano here. So if I drag that in on the other midi channel here, that one and plus M. Okay, let's try a grand piano sound. Nice. Okay, so yeah, I would suggest that Get started. Just look through the presets here. Once you get a bit more comfortable within Ableton Live Lite, then you can start looking at making your own custom Instrument Racks. 23. Module 3 - Simpler: Next one is Simpler. So Simpler is another sample playback device. Drag this on here. We can use this as like a drum playback or we can build our own synthesisers. Okay, so let's just look at pure its form. So if we go up and find the sample, Let's go like kick. Here we go and we just dragged in there. That's Pitch to cross the keyboards. In classic mode. One-shot. Same thing again here. Slice will come onto in a minute, will bring you in a more percussive thing and we'll see what that does. But essentially when you change the, you have a few more different options. We'll look at the classic mode in a second one, we build our own synth. But one shot here that we've got fade in, fade out. We have transposition. And then we have Velocity. So basically we get rid of the velocity and we have a filter here. So let's look at the classic mode now on how we would build our own synth. Go here. I'm going to bring in like, yeah, like a long note here. This could be anything, this could be used singing into the computer. Play it now. Cool, hey. So what we can do now is we can customize that a little bit with the controls here. So I can, I can choose this thing here. I put loop, and I can choose the length of the loop here so I can drag a little bit in there, or it can offset the star C. So it will start here. And then I can fade that. Go, Hey, also we need to check the tuning. And we can do this when an audio effect when goats utilities and go tuna. The edge, put this in the a, now I'm pressing B. So we can do is go over to these controls here we have a further Modulation area here. And I'm gonna go to transpose. I'm going to put it up semitone here. So it might be already on zero. So you can transpose it down to the sea is doing C. And then you could do sense here. Fine-tuning. Start with fit with other instruments. Now, this is where we can now use our attack decay release. So if I put the release up a little bit, go Hey, puts it yet, but some reverb and delay through it. Co hey, then also if we go into controls here we have some Modulation. So for example, here we have pan. I can put that up here, and then I can use this LFO. 16th notes. Here we go. Can have this spread as well. Spread it out wider. Bring the filter down a little bit. The other photo, the filter Pitch a little bit. And we are ambient artists. There we go. So now let's look at another one, which is the slice mode, which if I go a, a drum kit here, bring it in with lots of translating information. It's now spliced it, cross the keys. Now it's done it by transient. I can go in and I can choose by Beat. Who have got the effects still, I want to turn that off. Go through the octaves to find a Superfund as well with vocals. So if you go vocal is drag that in 24. Module 3 - Drift: Next is the amazing new synth, which is Drift. So Drift is a, is modeled on an analog subtractive style. Symphysis is ripping off symptoms such as the move the monologue, the grandmother cog MS. 20, all those really rich, warm selling analog Sims. And it does this with a super user-friendly interface. You have your oscillator section here. Your filters, envelopes section, mod section. And then this is the heartbeat of Drift, which we have this section here, which is the actual whites where it gets its name from Drift. Basically it puts the two oscillators and the filter frequency out of phase and sync with each other. So you get this movement that and combined with the stereo mode pants those voices around the stereo image, let's say the synth with just Polly and no Drift on. There. We go. Drift 25. Module 4 - Drum racks and sample-based beat production: Now we, in previous module, we got introduced to midi and we looked at all the different midi instruments. We made some noise and then got this music in the end. Now we're going to look at programs and beats. So we're going to use the Drum rack. And we're also going to look at Impulse for this as well. Drum rack, you can go to the Drum preset here and use any of these core kit preset. So I'm going to use AOA Kauket loaded onto the track by dragging. Now I'm going to double-click to create an empty one-bar midi clip. So what's difference between a melodic or virtual synthesizer, midi instrument to a sample-based playback, such as the Drum rack is not all the midi notes are occupied by sounds in Drum rack, what happens is it will only give you the keys that have samples loaded onto them. So we go in here, you see only have the samples here. If I click on this little arrow up here, shows you all the other midi notes which don't have samples loaded onto them. So if I was to go in and press on play this midi note here, no sound. If I was to load a sample into this Drum rack. And you do that by going like samples and say like if I just choose that one, weird sound, then put it on E2. See that's loaded. If I go into my midi clip of that now available there, can you create your own Drum racks by just going to the Instrument and dragging on Drum rack. And it'll be empty like that and you can drag in. So if you use a website social splice can drag them in there. I'm just gonna go back to my eight-week delete that one. There we go. 26. Module 4 - Programming drum patterns with MIDI: Let's go and create drumbeat. So we have all the sounds here from top to bottom, doesn't work in octaves this time it's just different sounds on different lines. Right-click on this bass drum, you see it highlights across the page where that sound will Live. Then along the top here is the rhythm. So we have B1, B2, B3, B4. Then we have the subdivisions 1234. Remember refer to them as spaces within the beat. I'm going to lay out the beat by pressing the kick drum like this. Now if I press play snare on top, and do this by double-clicking. Now if I press B, that engages our pencil tool, which we learned about earlier, so I can turn the pencil tool off and on like this. Now, I can do is I can click and drag. Now I don't have to double-click, drag across the page. Minimum stake there, I can correct them. And now I have to turn off sounding pretty vanilla. So far. We'll thing, I'll do this. I'm going to change the tempo. I'm going to take it down to like 91. So you're going to funk of Phi, this drumbeat pi, just moving the kick drum one space to the left, this 11 to the left, then this 11 to the right. And I say, Well that sounds like turn the click off. Now because we started with the kick, snare and the high hats, pretty solid beat and then we moved it around afterwards. It's really good way of thinking about Drum Programming is thinking invoices. So start with a kit stuck with it on the first base of each beat. Snare on the first base to 2.4, then a constant 16th note hi-hat. Now I can add some random notes on top by pressing just be, Get rid of some of these and maybe not as It's an hour 27. Module 4 - Applying groove and swing to add a natural feel: Next thing is if we've programmed, majority of it might sound a bit stale. What we can do is we can apply a groove to it. And how we did is we can go to our groove pool here, which we can put in some groove, so Ableton, so if we go to this little groove section here as well, I'm press hotspot that will bring in all our groups. I'm going to just choose two-step for now. I can drag it in here and I could do two-step sixteenths. This is almost just like a favorites list. Now to put this onto our channel, what I can do is I can go boom. And now it's applied. Now I can go up here and adjust how much I've got here, like the timing, 100%. So I could bring it. Just kind of just 12%. Still add something. When you happy, just press the little arrow and it commits it. It moves all the velocity in the notes around before. It's just almost like a preview. There. You've got those there. I can close that away and I can apply that then to my chord. So to keep the groove nice and tight. So if I go to my E codes for them, nice, there we go. 28. Module 5 - Recording audio preferences set up: This section of the course we're going to look at now how we can get audio from external world into Ableton Live, be captured, augmented, and enhanced. How we do that is with this thing here, which is an audio interface. And we can do this with the built-in microphone and headphones on our laptop. But it's not really going to sound that great. So I recommend getting your hands on audio interface. Now this one here is fantastic. It's by audience called it 14. Around about the hundred pounds. Mark up a link in the description so you can have a look at getting your hands on this. The other one is a focus, right? Scarlet, that's also quite a good entry, 0.1 as well. They do so you convert audio or my microphone into binary code, which is computer language for Ableton to capture it, store it, it then processes it, sends it back out to my headphones or speakers. So how this works is you plug your microphone into your input here. You turn up your microphone. How much volume do you want to send into Ableton? Now if you're using something called a condenser mic, you will need to add some power to it. I'm using a dynamic mic which doesn't need any power. Once you've done that, you then need to connect it to the computer via USB. You then need to plug-in your headphones here. Remember, this is a very important thing with audio interfaces. I see a lot of students struggle with, is they will have either a separate dial, especially on the focus, right, for this here, which is the speaker output. And there'll be adjusting the dial for the speakers. Putting the headphones on saying I can't hear anything. There's a little separate dowel separate for the headphones. So this will adjust your speakers. So if you're using active monitors, you can plug in the back here, which then you can plot your speakers in and adjust hearing for the speakers. We can plug in headphones and adjust them using your headphones. Once that's all set up, we need to go into Ableton Live and ensure our preferences are set up. We can do this by pressing Command or Control comma and go into the Audio tab. And we use this earlier to get audio out. Now we're going to look at forgetting audio in most audio interface is a class compliant. So what that basically means is you don't need to install any additional software drivers. Some do though. You will know this by plugging in your interface. If it doesn't show up here, it will need to drive a go to the manufacturer's website, download any additional software, you need, an extra show up here. It's still don't see it. You need to contact the manufacturer of your audio interface. So I'm going to select audience ID 14. Then the next thing is, what's the quality of the recording? It's the sample rate. So usually the industry standards for 4.1 or 48. 48 is going to sound a little bit cleaner. I just like it, but 44 is more than enough. So that's the quality of the audio. So like how high-definition you're going to have it. 40 is just me being a bit posh before it. 4.1 is fine. Also, all depends on how good spec you'll compute is. The higher the, the definition of the audio, the more information is kind of the process in real time, which could cause your computer's slow down a little bit. Buffer size. That's how quickly your computer's going to deal with process and all this audio in real time. Now, the lower the buffer size you've got, the less latency. So what latency is the round trip from audio being converted from analog to digital than digital to analog. So your microphone going into your interface, it Ableton, Ableton back to the interface, the Your headphones. There's inherently a slight delay with all interfaces and computer setups depending on spec your computer is will all depend on how quickly it deals with processing that 120k is usually a good sort of area. Myelitis is quite high at the moment because I'm using my audio interface to go in and some streaming software to go out. So it just incurs a bit of latency. You'll know when you've got latency because it does sound like there's an echo to microphone. So we'll look a way of combating that as well. So once that's up, we're ready to record. So now you need to use one of your audio tracks and you need to make sure you're plugged into either the first input or the second input. See here I'm plugged into the second input. Audio two is already set up. A little green dial there. Now if I press the record, it's now grayed out still, but you can see there's audio coming in. The reason why it's grayed out is because of this section here, which is the Monitoring 29. Module 5 - Monitoring : Monitoring deals with how you hear the audio in real time. Off, essentially means you're not hearing it, goes through, able to live and come back out. How do you hear it? And you probably ask him directly monitor it from your audio interface. That Basic means you are hearing audio, hit your audio interface before it goes to Ableton Live and comes back up. That's how I do all my recordings as how I'm listening to myself now on the focus right interfaces, there's a little button that says direct Monitoring. Press that you need to make sure you're not monitoring in here and you'll be able to see yourself without any latency. The latency is in the trip going from here into Ableton, Live. Back out again. If it's just from here, you don't get any latency. If you don't have a button on the front, but this audience, you need to go into your control software. Let me see here I've got the volume turned up on the direct Monitoring. If I was to mute that, I wouldn't be able to hear myself. And then I'd have to go to the monitoring options here. Now, Auto basically means automatically switches on and off. Well, that means is when I'm recording, it will let me hear myself back. Soon as I've recorded something, it would mute my mic that so I don't sink or talk over what I've already recorded in. Basically lets me record in, but mutes the pre-recorded material and continues me to keep singing on top, so always Monitoring. So let's look at these different types. So obviously we've done the off here. So now I'm going to record some thinking by pressing the little clip, just like in the midi view. To by counting again. According the Recording, the clip according the Recording the clip according the clip Recording the clip. Fantastic. And then I can double-click and I can see my audio in here. And plastic nasty the Auto. So you might hear two of me now. I might Auto so I'm automatically Monitoring out. Says Record again. Chord again, Record again, Record again, Record again. Chord again, record. So TDC, when I press Playback there, it muted my mic. You might, you might not have heard it, but it muted my mic is synthesis clips playing back so I can only monitor or I can only hear my voice in real time. Once that Recording I've made is not playing back then in recording a clip, Recording. Recording a clip, Recording a clip. Essentially this time it doesn't play it back, so it records it. So this is if you want to sketch loads of ideas down and you don't want it to be interrupted, dominant to play back. You just get the idea down, keep going, Get it down, keep going. Then you can go back and listen to it. Downside direct Monitoring. You're probably thinking why you show me that iterating monitors, amazing. You can't use all the processing in real time. So what that basically means is any EQs compressors, which we'll look at in a minute, or delay and reverb you can't use. So that's something to think about when Monitoring and Recording in Ableton Live 30. Module 5 - Recording in session and arrange view: Two ways we can record audio in Ableton Live. We can record it in session view in a clip or loop-based format, or we can record it in arrange view in a more traditional way, just like a tape machine on a linear timeline, the benefit Recording in session view is we can almost get a sketchpad view of the audio. We can hear things playback really quickly and loop brown we can let harmony downside is, say if there's a bit in the middle, we can't cut it out. That's where we can put it into arrange view and we can do some editing and moving around a manipulating it, enhancing it, and getting rid of all the bad bits. Let's look at the difference between the two. So I've already recorded a little bit in here, but I'll show it again. You need to have the arm, the track armed. You're monitoring setup, setup, then you just record on a clip. Make sure your metronome is engaged and you select how much of accounting you want. So Recording audio is very important. You have a counting because otherwise you'll be late to start. So I always do 2 bar, gives you a little bit time to get going. Then we press record according a bar Recording a bar according a bar Recording a bar, coding a bar Recording a bar. You saw that as soon as I press Play it played it back, which is great. If I, if I had that playing there, and I basically duplicate this trapped by pressing Command D. Delete these clips here. And then an alkyne record into this one as well. So putting a bar, Recording a bar, still recording a bar, still recording a bar, putting a bar. Recording. Record and arrange view is the same as the tracks up in session view, you need to have your record enabled, but you need to have your Monitoring set up on the right input setup. Once that's all sorted, you just need to select where in the timeline you would like to start recording from with the playhead by just simply click, click, click right, start. We will start. This time we use the transport record, just like a traditional DAW. Sure. Your metronome is turned on and that you have a accountants setup. Now let's press Record, Recording, Recording, Recording, Recording. Now notice you don't get that instant feedback as session view. When we press play on the clip which stops the Record, it plays it back to us now because we're working in a more traditional way, are not linear timeline. It plays it well, we record it. Then when we press space-bar to stop the record, it just stops when we have to go back and back to it. It's it's up to you which one works for you the best in terms of real-time Recording. Personally, I like using session view to capture the recording and then move it into arrange view to editing 31. Module 5 - Warping: Let's look at now a thing that Ableton Live is famous for and that is its ability to warp audio. Warping is where you input some audio and ableton Live will automatically work out what speed the audio is. Then it will stretch it or shrink it to fit your songs tempo. So all the audio you import will nicely fit in time. This works exceptionally well. If you have a loop that has a clear start and end point, if you input a piece of audio that doesn't have a clear start and end point. The Warping algorithm isn't going to get it as exact. You might have to go in and adjust it yourself manually, which we will look at. This is also great for correcting any mistakes you might make in the recording process. Say for example, you play a guitar line in and you do a Section, little bit of time. You can go in and warp that one section back in time on the grid. So let's jump in and see how we can do this is important. One of my loops from my sample pack we used earlier, drag onto an audio track, open a detail view. Now we can see this Warping thing in action. So it's enabled by this little button here. If it's not on, it will look like this. And what have any Warping? Marcus also, you won't have the ability to loop. It would only play through this once. Then it would stop. Okay? So in turn, warp on. Now we have different types of warp. The default is beats. I have it set to Complex and Complex Pro, just because they are the cleanest sounding warping algorithms. So they do change the sound of the audio slightly. Now this you can dive in deeper with my full course. I've mentioned it a few times in this, have a full deep dive able to live course, which I'll go into all the nuts and bolts of this in that course. But for now, we're just going to look at beats. This works great for drum beats. Okay, so now let's put this on. Now the Warping algorithms engaged. What I can do is I can go to my metronome here and I can gradually bring that down. It's going to walk the audio and you can hear it's kind of stretching it and go right down real slow. Some really cool sounds like that. Let's double-click and take it back. This here shows you the original speed of the audio. So you see it's 123. Now, what I can do is I can adjust this by pressing divide by two or plus two. Press divide by two. It does double time, times two, stretches it out. So that's quite cool if you are looking to get some cool variations on the loop. Now, this is all done via these warp markers up here, so we have one there. Now if I zoom in here, can you see this little arrow is pointing down? These are unengaged warp markers were able to nice algorithm has done, is it seen where there's a big spike in transient information and gone, That's probably a beat. And it's giving you the ability if I drag up here to engage it, so it's gone gray. If I double-click, that now activates that Warping market and then go through and I can do a few here. So think of these warp markers is like anchor points. So now that point there is anchored to that grid. Now I can go in here and I can move this bit of audio around, but it doesn't affect these audio here. Whereas if I double-click to unengaged, it can see effects all the audio. So this is great for messing around with the beats, so you can change the beat a little bit. So if we did something like that, crazy stuff, okay, This is great. If you play something in and you accidentally mess up a guitar line, or you sing in a bit out of time, you can see where it is in double-click and you can stretch it and move it back in C2 that by just hovering over the unengaged warp marker, double-clicking and then stretch it. Now let's import a piece of audio that doesn't have a clear start and end point. And the algorithm just doesn't understand it. How can we fix it manually? Okay, I'm going to downloads or have a drum loop here. If I play, it sounds great. Now if I bring the temperature, it's all the time we now want you to do is I'm gonna drag, I'm gonna go in here, and I'm going to look for the first beat of each bar. So you see here has got the first beat right. Turn the metronome off first. Drug that two, second. There we go. And I'm gonna do the same for this next bar here. Track that. Is that one there. Click and I'm going to drag it, see how I can manually fix this. There we go. We got it. So there we've got the bars sorted out. Now you can see here as well, There's a couple of fields that were a bit fast, so you could go in and you could manually pull the beats back and forth like that. But as a, just a rough guide, that is pretty much there. Okay, now we can quantize the audio as well. So we press Command a, select everything. We could go Command U. You can see here it's looking for the nearest quarter note beats and anything that you can slot in time. So it's in the metronome. That works fantastically well. If you're recording something Qin, so if I just record my voice in here, so if I on this track, put the input two, I'm just going to record 123,412.4. Now, there's some latency with the streaming software, so that's a perfect demonstrate, perfectly demonstrates this. Go in command, a command you should have sorted out 24124. Fantastic. So that's Warping in Ableton Live experiment when Importing samples in, changing the speed and use it to help you fix any timing mistakes you might have within your audio 32. Module 5 - Auto warp: So how you turn it on because you got to live settings and then you want to go down to record warp, Launch menu, turn on Auto warp long samples. If you haven't already. Once you've done that, boot, Ableton Live and open up again and that will activate it, a case of dragging your sample you wish to warp. Now what it's done is this automatic, The looked for the bars in the sample and walked it to the grid. So now if I go and choose the temperature at which here to my metronome on solo this track. And let's see if it's in time. Great. Now let's see if I fluctuate the tempo. Yes, got it and find great. Now that's amazing for if you want to use the pitching staff as well. And then bring it in. Awesome. Check that out. 33. Module 6 - Understanding the arrange view: Let's explore, arrange view and a bit more detail and look at some editing skills for arranging our songs and moving everything around. This was from our previous, previous lesson where we looked at using clips to create a short arrangement, then record it into this view. Now once we've got it in there, what we can do is we can press Play and we can have things drop in and out along a timeline. So this is the time on the bottom. This is the bias among the top. We can zoom in by using plus a minus. You can also, if you're on a Mac user track pad, shortcut, I quite like is if you select a section hand presses, you need to make sure you're QWERTY keyboards turned off, press set, zooms in. This is quite cool. 34. Module 6 - Basic editing and arrangement tools: So now what we can do is we can go and take chunks of the audio out. So say for example here, I didn't want this section here. I can simply highlight it, press Delete, it, gets rid of it. And I feel like, Oh God, I didn't mean to do that. You can simply click and drag it, brings it back. Here's doesn't really delete it. It just takes that chunk out, tucks it away, it rolls it under the carpet. Like carpet. You roll it away. And then you can unroll it again. Now so that you just wanted this section. He can press Command E or Control E on Windows. It takes such that section out. Same thing again, you can unroll it like that. Now say if we wanted to move all this and duplicate it, we can highlight everything and then just press Command D or Control D duplicates it. You see how we could make an arrangement quite quickly by taking command E and delete and Control or Command D. Next thing is Time-based shortcuts, which is really good. Like I wanted to delete just this section. I can press Command Shift or Control Shift Delete on Windows. It takes out that and it moves everything back. Command Z to undo. Now say if I want this section, but I want to overhear a compress command C and then click at the top track, press Command Shift V, which pastes time. So when I say paste or copy time, that means basically you're shifting everything along. You're not copying over something that's already there. Whereas if I did that same thing I did there without the shift Command V C, just paste over that. Did not shift along. This super useful tools for arranging 35. Module 6 - Introduction to automation: Next thing we can look at is automation, which automation is the way to automate things over a Time-based period. So that can be the most obvious one, which is volume. So something can get louder and quieter certain point in the song without me having to manually turn the volume up and down. So how do we do this? So first thing we need to make sure this little dial is turned off because the shortcut to get automation is a if that's turned on. Now, nothing is happening. Turned off. Now we're talking this height, this shows and hides or automation. So for example, here let's look at this last section here and let's do a classic fade out. So what I'm gonna do is by default, it's set to track volume. And I'm just going to and I'm going to select this one of the trucks here that's already turned down. Now this one here, see it's got Mix, it has got delay. So I'm gonna go to mixer, track volume met one tau. Now if I click from here, click on the playhead. Whatever happened to the classic Theta, I think there's a very nine-hundredths singles in it, but that's how you would do it. Here's all the different sections you can automate. So if you had audio effects, they will come up here to mix. It basically means the track, then these are all the things you can automate on the track. So you could have like the reverb here. We could get it really reverb macro, so you get the delay as well. Same point, going crazy, crazy. Okay, so experiment with 36. Module 6 - Introduction to MPE: The next thing that's amazing is the MPE capabilities. Now this is something that's not new again to Ableton Live, but they've made it a lot more accessible within Lite and intro. How they've done that is bringing the Drift since again. So here we go. Let's drag Drift into here. Now if you look there as various Modulation points on the same, so here, one here, and we've also got a mod page here. Now, if you look within this one here you can see someone says Slide, pressure, Velocity, all this other stuff. So slide and pressure are two of the MPE parameters. So what I'm gonna do is I'm going to go to the Note expression page. Then I have my slide and pressure automation lanes here. And also directly on the notes. I have the Note slides so I can get my notes to manually slide down. Now the difference between automation and MPE is it's like basically polyphonic automation. You've got it for each single note of the chord. So for example here, if I do this pitch, that's only going to happen on that one note. I want it to happen on this note would have to go in individually and do it like that. Whereas automation, if I did, maybe this like that, now I have an automation there just for that OneNote. And then I can click here, maybe I have a different slide, go like that. Now if I go back into the synth here, slide which is on the shape here, I can put up to Understanding crazy stuff. So you see that I can go in and change it straight away. Now this works fantastically, obviously with MPE capable controllers as well, such as Ableton new push three, which features all these parameters on the new pads 37. Module 7 - Audio and MIDI effects: Have a look, kids now Applying audio effects and processing to what we've recorded so, so far we've been working with the raw files such as midi and recorded audio as samples. Now we can manipulate, we can correct, we can enhance, we can change this audio with effects. So let's go through, and let's go through in order of importance 38. Module 7 - Equalisation (EQ) for frequency shaping: Equalisation is the most important, and that's the way we can shape the frequency of the sounds. We can anything that we don't want and we can enhance stuff that is a little bit dull or need to enhancing. So it's got to EQ. We have three EQ's available. We have filter Channel EQ and EQ three. Now, EQ is a really good feature in the other versions of Ableton Live, but there's a way around it, because we're quite limited in terms of parametric EQ. That means the ability to augment the EQ frequency spectrum with lots of different points. Essentially, we can do this on the master. And we're going to do is we're gonna use the filter to cut out low-frequency. So we can do that by simply selecting the low cut filter. And then we can choose to frequency here and we can put it down to 30 hz. So that essentially takes the base of the music. So if I press play here. So this is usually a performance tool, but we can use it as a utility. Then what we can do is we can then use the channel EQ to boost anything. So I can now boost the lower frequencies. But because I've cut out the problematic areas here, it's only going to boost the nice ones. I can do that by two dB and I can do the highest by two dB here. All the way up. It makes it brighter, the lowest, make it more fuller. Achi, three similar sort of thing as the channel EQ. But what you do is you have a selectable frequency, so you have to select both high and low frequency. The mid-frequency is everything in between. So this, you can basically do the same thing as these two, but the interfaces are not as, not as good. You don't have this visual representation of frequency spectrum which are like, but you can use all three so you can boost the mid here with this one, or cut the mid or cut the lows. And with combination those three, you can really org meant the sound and Ableton Live Lite 39. Module 7 - Dynamic processing (compression, Limiting, etc.): Next up is Dynamic processing, which is basically dealing with the loud points and the quiet points of music. We can use something called compressors and limiters to turn down the highest parts of music and turn up the lowest part so we have more consistent and concise sounds. Now we can overdo this. We can make music sound very one Dynamic where we want a bit of depth. I'm trying to get that balance is the ART form of using Dynamic processing. So let's try a compressor first. So what we're gonna do here is we're going to turn the threshold down until we, here, we see the compressor start working. The compressor starts working by this little line here. Must basically, soon as one of those spikes in the transient is going through the threshold, the compression is engaged. Now compression based, it means it's going to turn down anything that goes above that threshold lines. And the more I turned down the threshold line, the more compression happens. See that that's basically turning points. I wanted that much. Now if I flip this over into here, this view, I can see how much gain reduction is going on. So the moment, not much, so I can pull it down a bit more. One, 2-5 dB, then the ratio is how much you're going to turn it down by 4-to-1 is a standard compression setting to one, which we can go here, go to, and that's gonna be a more transparent settings attack and releases how quickly that compressor is going to pull that down. So usually we have a slower attack and a quicker release is that basically means as soon as the peak goes through, it's going to let a little bit through, which is going to make it sound a bit more transparent, then pull it down. The release is how quickly once it's compressed, which is like elastic band, how quickly you're going to let go that elastic band, quick release means that pings straight backup so you get more of a punchier sound slower. It's going to sound more smoother. You're going to hear more of the tone of the compressor and be careful if you have to release too long. For 1 s, the compressor is not going to be able to get back to an uncompressed state. So it's going to sound, just going to sound like you've turned the music down. So go for a slower attack and a quick releases. Then once you've done that, you need to boost up the overall game. You can check this by turning this off and you basically don't want a different volume or boosting volume. So you can compensate for the amount you've turned it or compressed it by, by turning up here, which is called makeup gain. So you turn it, you turn it up to compensate for the amount compressed it or turn it down by, but you don't want it to be boosting it too much. That's not the point of compression. The other thing is knee. The knee is how smooth is it going to go? So once it's gone through that threshold, it engages the ratio is how quickly that transition is gonna be if it's quick, compression is going to be a lot more visible. If you put a bigger knee, which we can view it in this view. If I put a knee like this, you see as more of a point, we're going to have more of the compression. That's quite good for say, rhythmic or stuff like drums, one vocal staff or Master chain. We wanted to be a bit more of a slower knee, so we have a bit more of an invisible transitions too much. It's an next one is Limiting. Limiting is essentially the same as compression. But we don't have an attacker release or ratio is basically there's no ratio. Anything that tries to go above the threshold is just cut off. So this is something you would put on your final output and it's usually good to put ceiling of minus one. And then we can push the volume into the. Now see its limits. What you're seeing here, there is it's Limiting now. That stops it from clipping on the output. So nothing's going to go above minus one 40. Module 7 - Time-based effects (reverb, delay, etc.): Next, the Time-based effects we've already been using, so we've been using the reverb and delay. So reverb essentially creates a sense of space. You can adjust how big the space is or how small the spaces. If I play, you hear just this Drum top. By using the solo. Then I thought in the amount of reverb decay, see how much it changes the sound. Okay? So that's the reverb and that's found in the reverb and resonance. So remember I have a couple more because I've got previous version of Ableton install which Max for Live, so it's copied over then corpus as well. So let's put this on. So this acts like a resonant chamber. So it's like imagine playing your music into a pipe. Resonates on a certain frequency, but it's 100% when you tune it. So it's essentially like a resonator, makes a resonant sound on top of the sound you've already made. So it's another one called delay. Let's put this back to reverb. Delay just simply repeats. So we can choose this time division here so we can have a one slightly different in each year. We can't slower. So these are done. How many 16th notes are going to be in the distance from the delay? So if it's one-sixteenth note, this super-quick, if we have 16, 60 notes, it's gonna be really long on this. Other thing keeps going. So we've got feedback. It's like, how many are those delays hot? How long did it go on for? Can we have like read Pitch, fade and jump, and that all deals with what happens with the repeat of it. Then we have Beat Repeat was a beat repeats like a weird Looper. So there's quite cool like Brain Dance preset here. So that's a very complex audio effect to fully understand what all those are doing. And that's another story for another day. But essentially, that introduces us to presets, which all the audio effects have presets here with this little drop-down menu here. So all the previous audio effects are shown. You can use some presets, so check that out 41. Module 7 - Distortion and saturation techniques: One is Distortion and saturation, which is found in driving color. Now we have a guitar AMP, which then goes into cabinet. So this is great. If you're recording guitar in, you have erosion, which is like a dirty mixing sound a bit noisy and dirty and redex basically works is like downsampling, so on. So you get digital artifacts that come in. So like digital Distortion, made popular by like Daft Punk and people like that. So real bitty Distortion. But what I want to go over saturate as a really good one. I put this on the drum top we've just been working on here. What we can do is we can derive, make it more distorted. Dc mixing. Cleaner base is how much of the base frequency you're going to send through the saturated. So the more you take out the cleaner saturation. Then also we have another filter point here which we can boost through the saturated and petal width and depth, how much that factor. Then we have the match the output C because it brings the volume up quite a bit. So that's the saturated master driving color 42. Module 7 - Modulation effects: We also have some other Modulation based effects like chorus. And phase course is really good on say like base so of instruments. So if I put this on the base here just creates a bit of width. We can use the dry wet lot Sal here. There's a lot more in the center, makes it a bit more wider. Color. The dry wet down. I can drag audio effects onto the channel as well as pneumonia. Send them return so you can replace the ones on send and return can't add anymore set and returns. In Ableton Live Lite, maybe you only get to sausages about say, adds more sense but you can't. So there's another limitation would getting the limitations with flushing amount guys 43. Module 7 - Utilising audio effects racks and utility effects: That's nearly it. So utility, so one of my favorite, so we've done, we've done Instrument Racks. You can also do audio effects racks. So for example, here, if I bring this down, I can drag these two instruments into Iraq so they can be one after each other. Or if I bring this here, I can drag one, put it here so you can have them on top of each other. So I can have like reverb and corpus happening at the same time, which is pretty cool. You'd have to play around with that sound. Good. The next one is tonight and utility tuna just works like a guitar tuner. Utility is one of my favorite effects in Ableton Live. So I'm gonna put this on the master, put it right. She have a couple of here yep. Phase and you have a width dial so you can make it wider. So you have a mono tau, so you can make some monarch. You have a bass mono, which is wicked. So you can check here with this headphone. Just makes that space based on the middle. You have a balanced pan and you haven't gained 44. Module 7 - MIDI effects: Next is midi effects. So this is going to look slightly different for you again because I have some Max for Live stuff downloaded. But essentially we've got Arpeggiator, Chord, midi effects, rack, don't length, Pitch, Random, Scale, Velocity. I say there's just an overview of what they do. I will go over some of them in a bit more detail. 45. Module 7 - Arpeggiator : Let's jump straight into the first one is FPGA to us. If I drag that onto this here, notice the difference between this and audio effects. Midi effects come before the instruments, so they affects the musical information language controlling the sound. This is basically going to look at the code that I played in Northern play the three notes at the same time, it's going to stack them one after each other, a certain rhythmic, rhythmical value or value here. She's the style. So if it goes down, up and down, and then we can choose how many steps. That's basically how many objects. If we tend to delay on. I'm getting carried away. Man is supposed to be teaching the lesson here. So you see that's pretty cool, right? 46. Module 7 - Chord : So next one is chord. So if I get an empty midi channel here and bring it over next here. So I'm just going to turn these oxytocin Chairman away again. So here we go. So it's just ten chord on here. And then I'm going to put the same instruments, can copy instruments across, paste here. So essentially what this is going to do is it's going to harmonize midi notes coming in. So if I, if I press this note here, one Note, whereas if I get this now, press this up four semitones, same notes pressing is now harmonizing it. So it's playing that one that I'm playing and doubling up. Note four semitones up. So if I go seven semitones, wicked, Hey? 47. Module 7 - Scale: Onto the next one, which I'm jumping ahead is Scale. Scale here we'll quantize the notes coming into it to a chosen Scale. Amendments to the chromatic scale. That's a bit of a confusing interface. Don't get me wrong. So it deletes it and I'm going to use one of the presets. I'm gonna go Major. Put it here, I'm playing a major chord and quantize to a major scale. So what happened now is if I go through the keys, I press C. It will lock the notes to the diatonic harmony of that Scale was if I had that chose, if I have that Scale off. Playing a major chord on each degree, turn it on, locks it in, which is quite cool to look at them in conjunction with each other. 48. Module 7 - MIDI effects rack: The other one is midi effects rack so I can drag their own or I can do the same where I can highlight everything this and press Command G, and that puts it into a rack. Now what happens stated before, it's quite cool. Rack as you can then save these as a preset so I can come on, I'll rename as like Chord jet and then save, that was saving my Instrument Rack as all these settings and everything saved here. So not only can we layer things, we can save a chain of effects as one preset, which is super cool. So that's the same with all the effects rack and Instrument effects rack as well. 49. Module 7 - Note length : We've got note lengths, so that just deals with the length of the note. So if I put this start here, I can just choose. That makes you think what's the point in that is if you don't have a sustained pedal, so you could put in that length here. So hands-off acts as like a sustained, but over time such that your fingers or your foot's on the sustain pedal all the time. So that's quite good. Feature 50. Module 7 - Pitch: Pitch so that we can put the start as well. Just changed the key. So I can change it down two semitones. That's going to affect the scale thing here, but that's okay. 51. Module 7 - Random : Next one, Random, soon as you can choose random midi notes. So I'm pressing the same midi note here. I put chance. I'm just pressing one note here, is being quantized by the scale thing here, but that's quite cool. Downscale them Velocity is basically quantizing the velocity. So the moment, the velocity has been dictated by my controllers. So I can hit it slightly louder. I can do is I can put the lowest point of being 127, the highest point in 127. I've got rid of Velocity essentially. So that's quite cool. That's what I use that one for. But that's essentially all the midi effects that are in Ableton Live Lite 52. Module 7 - Velocity : Velocity is basically quantizing the velocity. So the moment, the velocity has been dictated by my controller. So I can hit it slightly louder. I can do is I can put the lowest point of being 127, the highest 0.127. I've got rid of velocity essentially. So that's quite cool. That's what I use that one for. But that's essentially all the media effects that are in Ableton Live light 53. Module 8 - Mixing techniques overview : Module, we're gonna get an understanding of all the Mixing concepts and principles, balanced level and Panning, Grouping tracks, bet and organization, and then understanding and applying effects to enhance the mixing 54. Module 8 - Gain staging: The first thing we'd like to do if we're starting to mix is make sure that the sum of all the tracks isn't too loud. So each one of these volumes here is going to be contributing or adding together, summing together to make this final output here, which you're hearing your outputs. Now if we make each one of these loud, loud, loud, it's gonna get too loud here. It's not going to make our plugins on our master chain. Some very good. If we don't have any plugins on, our mass, is going to distort, is going to clip and it's going to sound broken. So first thing I'll do is I'm just going to mute all the audio effects master chain here. And what we're gonna be trying to do is we're trying to get this down to about minus six to minus three dB. That's generally like an industry standard practices, not the rule, but it's just a good place to start. And that will that will ensure that all your audio coming to your master chain is gonna be a nice, healthy level. And it's not gonna be driving the plugins and the audio effects too hard. So it's already. You can see here this is the peak for him. So he's come in at -6.4, so that's all good. If it was too loud, what we would have to do is go over here and turn down the individual channels here. Feels good. And I can just bring this one in. Gray 55. Module 8 - Panning: I can do, I can move things around the stereo image now with this Panning tall. So that's basically the balance of how loud it is in this beacon, how loud it is in that speaker. So for example here, this percussion, I can maybe move that over into that speaker. Can hit that. Then maybe this percussion here. We've ever in there. Then when I bring the drums and that leaves a bit space in the middle, that's missing. So Panning is just essentially moving things around as their image to give them their own little space. 56. Module 8 - Grouping and sub mixing : Now we can group tracks together as well. So I've got quite a lot drums here. So at this, this is what I can do is I can group them together. So I made this percussion over here, highlight the two tracks would like to group together or more, press Command G. So that does is now if you look at the output, it says audio to group. Now what I can do is I can just write PRC and I can tuck it away. You get like kinda stripy clips here. So that visually is a good organization proposed routes that audio through this so I can do group processing. So if I wanted to get one of my audio effects like the EQ, maybe put a filter on it. So just take out some of those lows and put that down to like 30. And then maybe the channel EQ just to boost up, boost the highs up a little bit, and maybe a little bit compression. So I'm gonna go two-to-one, quick release, slow attack. Now process them as a group. And I could do that on this drums here as well. Command G, rename Drums, do the same thing. So we get almost like mixing it a sub group level. And what that does is you attenuate the peaks here, the group stage. So then when you get to the master stage, this compressor and the limiter is not having to pull down as many peaks. Sounds already colored smooth. Then when you get to the master, that's like the final polish or like it's already quite smooth. It's not a rough surface. Just gone over with a fine sandpaper, just bring out the smoothness. So that's where we now 57. Module 8 - Master chain: Apply like what you call Master chain stores, like the finisher effects to enhance the overall volume. So I put utility on here just so I can check the mids and site, water-filter the Cutler lows out Channel EQ to boost the lows and highs didn't need the Q3. Then we got the compressor just to attack the peaks. I like this on the master to afford a one. And then limiter. Don't want it really working too hard. And that's minus one. So it's going to ensure nothing clips or goes above minus one dB is just a good practice to get into when you start converting it into a lower file formats such as an MP3, you're not gonna get any digital artifacts come in, which is what we get onto next. 58. Module 9 - Exporting : This is the final module. Congratulations if you made it still here. Well done. So now we're looking at how we can export music from Ableton Live, Share with all our friends and family. I find works well to get everything from session view into arrange view. So if you've been working in this view, jamming out some loops, record the arrangement as previously discussed in previous lessons in this course is ten, a lot easier to bounce out and arrangement, it's not impossible in here, but it's a bit harder. Flipped over into arrange view. We're going to use the loop function up here, the range to highlight the area we want to export. Now we're going to press Command Shift R, which is the shortcut. You can do this going up to File Export Audio, and on Windows it's Control Shift R. So the render is basically what do you want to export? You can export the master, which is the sum of all the tracks, which is what we want to do. But you can go in, do the individual tracks or certain tracks just from this drop-down, the render start and length is the duration of the render. And that is dictated by what we did just a second ago with the loop window. Just double-check, see it goes up to 30, then all these rendering options here, you want to turn off sample rate. Usually 44.1 is good or 48 is what we're Monitoring and we can do that just depends on where you transfer it to. It's good practice just to keep it 4.1. Now PCM is basically how, what file format you want to use. We want to use WAV, 24-bit industry standard. That's our High Res output. So this is good for if you want to send it to a mastering engineer or if you want to release it on, say Spotify, SoundCloud, YouTube, all that. Now, Mp3, if we turn that on, Mp3 is a smaller file size and lower risk, why would we export that? What's the benefit of it? It's really easy to share. So this is quite good if you're collaborating with people on the Internet or if you just want to send it to South. If you export is just the WAF, you probably have to use something like WeTransfer because it's such a big file format that it's not that easy to share. So Mp3 is just a great way of sharing music. Hence why you download will use to download MP3s. Lot smaller file size, lot quicker to download. More economical to share. But the compensation that is, you degrade the audio slightly. Think of it like Instagram, you upload a really high-res image. Instagram compresses it. If he were to take a screenshot of Instagram and put up on a billboard. Even though it was a high-res image that star, if you blow up, it'd be like you'd have all digital artifacts it look to, it will look blurry anyway. So we go export, asks us where to send it on, will do it to desktop, Save. And it does it offline. This is a rendering it, and it's done. We go. So now if we come out of Ableton Live, go to, go to the desktop. We have two files here. So this is the most important thing. This is the thing I always say to all my students when I'm teaching in university, if you an exam you're handling stuff in, we're just check it anyway. So just thick on here. Make sure it's exported properly. That's it. You made it 59. Outro: Congratulations, so happy you've completed this course. I hope you've enjoyed it and you've learned, lots. Don't forget if you'd like to dive deeper into any of these topics. I have a full Ableton Live course for you to check out, but only take that up when you feel you've really mastered all the basics. Anyway, thanks again. Hopefully, see you in a class again sometimes soon. Bye for now